/ 


LIBRARY 


University  of  California. 


GIFT  OK 


Mrs.  SARAH  P.  WALSWORTH. 

Received  October,  i8g4. 
Accessions  No.\j^oyjZ^^A    Class  No. 

Kt7S 


77. 


/ 


kS 


t 


Of 


4: 


T 


lr> 


^ 


•  ••••• 


n*1 


y 

^  ,•  Mil 


f* 


I 


g      ~~ 


7— ^-?. 


£ 


'r 


~7 


y 


sis 


••  • 


ul 


s    \i  \,  ■" 


ir-o 


Ui*J^  *    ,vl   t 


h\> 


■^     «*, 


PROGRESSIVE  AND  COMPLETE 


FOR   THE 


*    • 


PIANO-FORTE 


BY 


HENRI    BERTINI. 


NEW  AND   CORRECTED   EDITION 


Of  TEB 

JFI7BHSIT7] 

SAN    FRANCISCO: 
PUBLISHED      BY      A.     KOHLER, 

178    WASHINGTON    STREET    &    276    STOCKTON    STREET. 


(b©i&:km  www  we  m  tm  m&mm. 


<smm®w  wmwum  m  wm  igdot; 


6V7 


PREFACE. 


My  intention,  in  publishing  this  new  Method,  has  been  to  facilitate 
Che  study  of  the  Piano-Forte ;  and  I  have  tried,  as  much  as  is  in  my 
power,  to  furnish  a  Progressive  work,  in  which  the  young  pianists 
might,  assisted  by  the  experience  of  their  master,  find  all  the  elements 
of  instruction. 

A  great  number  of  elementary  works  —  many  of  them  written,  too, 
by  men  of  talent,  and  very  good  in  some  respects — have  the  disadvan- 
tage, that  they  are  rather  a  collection  of  popular  airs,  than  a  series  of 
lessons  connected  and  graduated  so  as  to  develop  the  musical  knowledge 
and  mechanism  of  beginners.  I  wanted  to  avoid  this  fault,  and  I 
have  therefore  written  especially  for  this  work,  a  series  of  melodies 
and  exercises,  instead  of  resorting  to  popular  melodies,  romances, 
waltzes,  etc.,  etc.,  which  are  commonly  annexed  to  instruction  books. 

It  has  hitherto  but  too  often  been  forgotten,  that  an  instruction 
book  is  intended  for  a  grammar,  and  not  merely  for  a  book  of  amuse- 
ment ;  and  hence  the  false  system  which  made  elementary  works 
consist  entirely  of  little  airs  which  the  memory  can  easily  retain. 
This  custom  perverts  the  taste  of  the  pupils  ;  it  prevents  their  mind 
and  ear  from  making  themselves  familiar  with  the  different  harmonic 
combinations,  and  it  fills  their  heads  with  musical  trivialities,  which, 
more  and  more  drawing  them  away  from  the  works  of  true  art.  will 
ultimately  incapacitate  them  from  understanding  the  works  of  the 
great  masters. 

It  is  very  important  to  have  the  first  studies  of  children  directed 
by  a  skilful  master  ;  for  on  the  principles  imbibed  in  the  first  lessons 
always  depends  the  future  success  of  an  artist.  Faults  then  acquired, 
and  confirmed  by  long  practice,  will  never  be  lost. 

I  would,  therefore,  make  it  the  duty  of  parents,  and  those  who 
have  the  charge  of  pupils,  to  act,  in  this  respect,  with  circumspec- 
tion, and  to  consult  artists  before  concluding  about  the  choice  of  a 
teacher. 

In  studying  very  carefully  all  the  works  which  have  appeared 
within  a  certain  number  of  years,  I  have  been  struck  with  their 
general  deficiency  in  the  important  qualities  of  order  and  logic. 
Some  of  them  are  objectionable  on  account  of  too  great  simplicity 
in  their  means ;  others  have  appeared  to  me  to  be  in  a  still  worse 
condition,  for  they  contain  many  useless  things,  and  a  total  want 
of  progression.  I  hope  I  have  succeeded  in  composing  a  solid  work, 
which  will  force  the  pupil  to  exert  himself,  and  familiarize  him 
with  all  the  difficulties  of  tonalite,  fingering,  and  rhythm. 

I  have  graduated  all  my  lessons  from  the  natural  key  up  to  those 
most  charged  with  chromatic  signs.      My  system  will,  therefore, 


necessarily  give  more  trouble  to  pupils  in  the  outset ,  but  from  V 
there  will  afterwards  result  a  great  good  to  them, —  for,  in  learn- 
ing to  play  the  Piano-Forte,  they  will,  at  the  same  time,  become 
good  musicians. 

I  have  often  observed,  in  pupils  who  had  already  obtained  a  certaii; 
proficiency,  a   difficulty  in   reading  music  with  accidentals ;  and    I 
doubt  not  but  this  want  of  readiness  is  to  be  ascribed  to  the  timid 
ity  and  excessive  reserve  of  the  old  instruction  books. 

My  course  of  Piano-Forte  instruction,  if  followed  from  tte  begin- 
ning to  the  end,  will  offer  one  advantage,  which,  I  hope,  will  be 
appreciated.  It  furnishes  elements  of  study  for  more  that  a  year, 
without  making  it  necessary  to  have  recourse  to  a  multitude  of  little 
pieces,  almost  all  of  them  carelessly  written  and  badJy  fingered. 

Mechanical  means  to  assist  the  hands  and  arms  sfc  ould  be  rejected 
in  the  thorough  study  of  the  art  of  Piano-Forte  playing.  They 
should  only  be  considered  from  an  orthopaedic  poit  t  of  view  ;  tliat 
is,  they  can  only  be  used  with  any  appearance  of  ?  ^vantage  as  a  last 
resort,  when  a  pupil  has  been  badly  directed,  or  us  an  aid  in  cor- 
recting a  bad  formation  of  the  hand. 

Some  persons  have  the  erroneous  opinion,  that  the  metronome 
could  be  of  service  in  the  study  of  the  Piano- Forte.  The  intellect 
and  judgment  must  direct  the  division  of  measiue*  and  the  different 
rhythms,  and  the  metronome  is  only  a  means  u.t'.l  by  composers  to 
indicate  the  true  time  of  their  compositions. 

The  pupil  should  sit  before  the  middle  of  th'j  key-board,  in  order 
to  be  able  to  run  with  ease  over  the  keys  from  one  end  to  the 
other. 

The  wrists  should  be  turned  outward,  so  that  the  fi/v  fingers  may 
be  always  on  the  key-board,  and  ready  to  strike  their  <t'X3S. 

The  wrists  and  arms  should  form  a  straight  line. 

The  hands  must  be  rounded  off,  and  the  keys  shuck  with  the 
extremity  of  the  fingers,  but  not  with  the  naih. 

The  body  must  be  held  erect,  and  all  grimaces  and  exaggerations, 
which  would  give  a  ridiculous  appearance,  must  be  avoided. 

In  order  to  obtain  great  equality,  agility,  force,  neatness,  and  a 
beautiful  sonorousness  of  tone,  —  qualities  which  constitute  true 
talent,  —  it  is  necessary  to  know  how  to  strike  the  keys  from  th# 
fingers,  from  the  wrist,  or  from  the  fore-arm. 


Thus  the  touch  should  be  given  exclusively  from  the  fingers  in 
trills,  in  runs  of  the  scale,  and  in  other  running  passages. 


AUKORO. 


mug; 


IEGOIERO. 


|jffffm-^ 


The  keys  should  he  struck  from  the  wrist  in  chords  and  octaves, 
in  lively  and  light  movements. 


ALLEGRO. 


*  ^N     mmM      NJJl       ^ 


And  in  a  moderate   movement,  where   the   expression   demands 
great  force,  the  keys  must  be  struck  from  the  fore-arm. 


HODERATO. 


0-0-0 — ' ar-fi— aT-'-  -0-0-0-0 — 0 0 ■ — g> — ' 


-0-  J  'W 


But  this  last  way  must  be  used  very  sparingly ;  otherwise  it 
would  easily  degenerate  into  a  habit,  and  produce  a  stiff,  heavy 
touch. 

I  recommend  to  pupils  constant  practice  of  the  scales  ;  at  first, 
in  slow  movement,  then  moderately  fast,  and  thus  progressing  to 
the  highest  degree  of  velocity. 

In  order  to  prepare  for  the  exercises,  and  to  give  elasticity  to  the 
fingers,  it  is  important  to  go  through  the  five  finger  exercises,  in 
single  and  double  notes,  which  are  given  in  the  instruction  book. 

It  is  absolutely  necessary  to  have  the  pupils  early  acquire  the  habit 
of  counting  the  time  aloud  ;  and,  where  they  cannot  make  at  once 
the  correct  division  of  time,  they  must  subdivide  the  measure  into 
•mailer  parts. 

Thus,  if  the  measure  is  marked  in  4  parts,  it  will  be  divided  into 
4  quarters,  or  8  eighths,  or  16  sixteenths. 

Measure  in  four  parts  divided  into  four  Crotchets. 
_1__ a a^rr?vA- 


i 


e=F 


s=a 


i^^ 


Measure  in  four  parts  divided  into  eight  Quavers. 


1         9        3        4         5. 


^f^=^ 


<te 


»e 


i 


Measure  in  four  parts  divided  into  sixteen  Semiquavers. 

3      3      4      5      6      7      8 9    10    11    19    13    14    15    It 


The  principal  diversities  of  shade  in  music  are  contained  in  the 
modifications  of  sound  and  time.  There  are  a  great  number  of  in- 
termediate degrees,  which  form  a  chain  between  pianissimo  and  fortis- 
simo, between  the  slowest  and  the  quickest  movement ;  and  the  art 
of  interpreting  the  different  composers  is  only  obtained  by  scrupu- 
lously observing  the  indicated  marks,  in  studying  the  contrasts,  in 
trying  to  give  coloring  to  the  musical  phrase,  and  in  taking  the  time 
exactly  as  indicated  by  the  composer,  or  by  custom. 

A  master,  however  skilful  he  may  be,  can  never  give  a  superior 
style  to  his  pupil  ;  for  style  is  something  that  cannot  be  transferred, 
and  for  which  no  rule  can  be  given.  There  are,  in  the  arts,  quali- 
ties with  which  nature  alone  can  gift  certain  intellects  ;  and  the 
master  can  do  no  more  than  transmit  to  his  pupil  a  faint  shadow  of 
his  own  manner,  and  which  will  never  make  any  thing  but  an  imi- 
tator of  the  pupil. 

Style  is  the  spirit  of  the  performance  ;  it  is  the  art  of  giving  a 
form  to  the  ideas,  and  of  transmitting  feelings.  There  is  as  much 
difference  between  a  man  of  mere  execution  and  the  true  artist,  as 
there  is  between  a  great  talker  and  the  true  orator.  A  man  may 
be  a  skilful  instrumental  performer,  and  yet  be  only  a  very  mod- 
erate artist. 

Only  by  the  careful  study  of  the  works  of  the  older  schools  of  Italy 
and  Germany,  the  works  of  Haydn,  Mozart,  Clementi,  Dussek,  Cra- 
mer, Beethoven,  Hummel,  etc.,  and  those  of  the  better  modern  com- 
posers, the  true  talent  will  be  cultivated,  and  ultimately  acquire 
individuality  and  originality  in  style. 

It  is  to  be  regretted  that  the  study  of  the  ancient  masters  is  almost 
altogether  abandoned,  and  that  beautiful  works,  in  strict  and  grand 
style,  have  been  laid  aside,  almost  exclusively,  for  the  easy  success 
to  be  obtained  from  performing  variations,  and  a  number  of  little, 
light  pieces,  which  have  no  real  merit. 

I  leave  it  to  the  discretion  of  the  teacher  to  decide  on  the  time 
when  the  exercises  in  thirds,  sixths,  octaves,  chords,  etc.,  should  be 
taken  up  and  gone  through  with.  I  wanted  to  avoid  filling  my  text 
with  useless  matter ;  and  I  have  endeavored  to  give  to  my  definitions 
the  utmost  simplicity  and  clearness,  so  as  to  make  them  accessible 
to  the  intellect  of  young  learners. 

If  my  work,  the  fruit  of  long  meditations,  and  of  conscientious 
labor,  be  acceptable  to  my  colleagues,  I  shall  be  happy  to  have  mado 
a  step  forward  in  the  beautiful  art  which  has  occupied  every  moment 
of  my  life. 

H.  BERTINl 


OF   THE   KEY-BOARD. 


The  key-board  most  generally  in  use  embraces  an  extent  of 
gix  octaves,  which  commence  on  F,  and  rise  to  F  of  the  sixth 
octave.  Within  a  few  years,  Pianos  have  been  made  extending 
to  six  and  a  half,  ^nd  even  seven  complete  octaves. 


WI7IR-SITT] 

As  it  is  very  easy  to  become  familiar  with  the  additional  keys 
of  the  seven-octave  Piano,  we  shall  confine  ourselves  to  indicating, 
by  the  following  table,  the  name  and  position  of  each  key  of  a 
Piano  of  six  octaves  only. 


TABLE    OP    A    KEY-BOARD    OP    SIX    OCTAVES. 


Ab   B 


Pb 


Bk  Db,E|' 


k    Ab  Bb  Pb  Kb  Ob  Ab  Bb  Db«b         <>b  ■         \fQ  Pb  Eb  Ob  *b  Bb  Pb  »b hC-^^2" 


,b      \&J>*2      —  —  —      —~ 


\fC  *° 


:5<9- 


izrl*: 


--^bzr- 


±s:^. 


bis™ 


-h& 


ftsH*»- 


Ss^J^- 


F#  li£  A#  C#  B#  F#   Gtf  A#  C#  T>#  F#  G# 


A# 


#? 


#25"  *F 


m& 


-*» 


^^ 


~J&L 


?&- 


*&*&■- 


c#  d#        f#  a#  a#        c#  p# 


Ftf  «#_**  #©-*C-  — ~ -  - 


*^" 


3PZ 


*?*^ 


I#Z*?= 


•#• 


|gjg       -—  • 


iwiwwuiMn 


nmrn 


! 


SE 


arr» 


-©   T   X     B     o 
F       ° 


ABCUEFOA      B*^-    ^ 


=r:^ 


^-r^T 


f    a    a    b    c    n    e 


o     fc 


OABCDEFCtABCDKF 


LIST    0¥   THE    PRINCIPAL   ITALIAN    MUSICAL    TERMS    USED   IN  THIS    WORK. 


GRAVE,  the  slowest  kind  of  ume. 

LARGO,  very  slow  and  grave. 

LENTO,  slow. 

LARGHETTO,  less  slow  and  grave  than  Largo. 

ADAGIO,  slowly. 

SOSTENUTO,  sustained  m  regard  to  tone. 

MAESTOSO,  majestic. 

AFFETUOSO,  affectionate,  tender. 

CANTABILE,  in  a  graceful,  singing  style. 

TEMPO  DI  MENUETTO,  in  the  time  of  a  minuet. 

TEMPO  DI  MARCIA,  in  the  time  of  a  march. 

ANDANTE,  going  neither  to  slow  nor  too  quick. 

ANDANTINO,  somewhat  less  slow  than  Andante. 

TEMPO  GIUSTO,  in  strict  time. 

GRAZIOSO,  in  a  flowing  and  graceful  style. 

ALLEGRETTO,  moderately  playful  and  vivacious. 

ALLEGRO,  fast  and  animated. 

PRESTO,  very  quick. 

PRESTISSIMO,  the  most  rapid  degree  of  movement. 

DOLOROSO  indicates  a  soft  and  pathetie  style. 

CON  ESPRESSIONE,  with  expression. 

MODERATO,  with  a  moderate  degree  of  quickness. 


COMODO,  quietly  with  composure. 

CON  BRIO,  or  BRIOSO,  with  brilliancy,  brilliant. 

AGITATO,  with  agitation,  anxiously. 

SCHERZANDO,  playful. 

MOSSO,  animated. 

CON  MOTO,  with  spirit. 

PIANO,  (or  simply  the  letter  p,)  sweet,  soft. 

PIANISSIMO,  (orpp,)  very  sweet  and  soft. 

DOLCE,  (or  Dol.,)  sweet. 

FORTE,  (or  f,)  loud. 

MEZZO  FORTE,  (or  mf,)  rather  loud. 

FORTISSIMO,  (or  /,)  very  loud. 

SFORZANDO,  (or/z,)  rendering  the  sound  suddenly 

loud. 
RINFORZANDO,  (or  Rinf.,  rfz,)  rendering  the  sound 

loud,  but  not  suddenly. 
CRESCENDO,  (or  Cres.,)  increasing  the  tone. 
DECRESCENDO,  (or  Decres.,)  decreasing  the  tone. 
DIMINUENDO,  (or  Dint.,)  diminishing  the  sound. 
SMORZANDO,  (or  Smorz.,)  smothering  the  sound 

by  degrees. 
LEGATO,  (or  Leg.,)  slurred,  smooth  and  flowing. 


STACCATO,  notes  to  be  played  short  and  distinct 
PORTAMENTO,  a  gliding  from  one  note  to  another 
RALLENTANDO,  (or  Rail.,)   retarding  the  time 

and  diminishing  the  tone. 
RITENUTO,  (or  Rit.,)  decreasing  the  movement. 
TENUTO,  (or  Ten.,)  to  be  sustained' the  full  time. 
ACCELERANDO,  (or  Accel.,)  accelerating. 
A  TEMPO,  in  the  regular  time. 
ESPRESS1VO,  (or  Espress.,)  with  expression. 
LEGGIERO,  (or  Legg..)  lightly. 
CON  ANIMA,  with  feeling. 
CON  SPIRITO,  with  spirit. 
CON  GRAZIA,  with  grace. 
CON  GUSTO,  with  taste. 
CON  DELICATEZZA,  with  delicacy. 
CON  FORZA,  with  force. 
CON  CALORE,  with  heat. 
CALANDO,  diminishing  in  tone  and  quicKness. 
BEN  MARCATO,  well  marked,  strongly    accented 
AD  LIBITUM,  at  the  will  or  pleasure  of  the  player. 
A  PIACERE,  at  the  pleasure  of  the  performer. 
VOLTI  SUBITO,  (or  V.  S.,)  turn  ovw  quickly. 


2 


LESSON    I. 


PREPARATORY     EXERCISES 


FOR  PLACING  THE  HANDS  ON  THE  KEY- BOARD. 


The  Brace 
is  used  for  uniting  the  two  staves. 

Clef  of  G,  (or  Treble  Clef.) 


Do 


The  clef  of  G,  (treble,)  is  placed 
on  the  second  line. 

Clef  of  F,  (or  fiats  Clef.) 


M 


The  clef  of  F,  (bass,)  is  placed  on 
the  fourth  line. 


Stave. 


5th  line.- 
4th  "  - 
Td  "  . 
Sd  «  . 
l«t    «     . 


The  stave  consists  of  five  parallel 
lines,  upon  which  the  notes  are  writ- 
ten. 


© 


© 


The  notes  are  placed  either  on  the 
lines,  or  on  the  spaces  between  the 
ines. 

When  the  notes  reach  above  or  be- 
low the  stave,  they  are  placed  on  ad- 
ditional lines,  called 

Ledger  Lines. 


m 


£l 


Above. 


-<s>- 


D 


-3Z 

-<S>- 


Do 


Re 


* — 

X 

1 

2 

A                    a                                     - 

fln 

ts> 

9 

c 

D 

E 

w. 

4 

a 

vs 

.    <?...._ 

Q 

^ 

Do 


Re 


Mi 


i               2 

3 

y 

cs>                ^ 

A 

G> 

fth 



*¥ 

* 

c 

D             E 

n 

F 

i 

C?v 

a              u 

\L- 

^,             o 

V,                         ^j                          ^, 

Do 


Re 


Mi 


Fa 


Below. 


?W 


Double  Bar. 


The  double  bar  is  used  to  denote 
the  vdA  of  a  strain. 


A-  . 

i 

8 

3 

4 

Q.. 

o  ■ 

X.            ^ 

ffi 

'a' 

T 

C 

D 

E 

F 

i 

G 

X 

es. 

....  a 

ST"     .""       " 

B 

p 

o 

o 

Do 


Re 


Mi 


Fa 


Sol 


4 
_C2_ 


3 


1: 


G 


J\r 


Sol 


4 

JSL. 


G 


3 


F 


Sol 


Fa 


A  IlKMt 


Two  dots  before  a  double  bar  de- 
mote that  the  previous  strain  must  bs 
Dlayed  again.  This  is  called  a  Re- 
cat. 


f 

4 

3 

2 

( 

| 

\ 

®                           -      ~                                            —-' 

I 

G 

X 

F 

i 

s> 

E 

e 

Sol 


Fa 


Mi 


n 

4                          3 

2 

1 

i       - 

S3 

S 

G               F 

'        *                       j 

H                       (9-        - 

E 

— a — 

D 

Sol 


Fa 


Mi 


Re 


4 

_«2. 


2 

3BELL. 


-<s> — 


-x- 

ISSE 


G 

x 


E 


D 


E 


:«2i: 


-9 -, 


c 


-s>- 


Sol 


Fa 


Mi 


Re 


Do 


N.  6. — it  is  very  important  to  ac- 
custom pupils  early  to  the  combina- 
tions, and  difficulties  in  regard  to  tone 
and  intervals,  in  order  to  render  them 
familiar,  as  soon  as  possible,  with  the 
key- board,  the  most  complicated  meth- 
ods of  fingering,  and  the  various  acci- 
dentals* so  common  in  Piano  Forte 
music.  In  attacking  difficulties  from 
the  beginning,  (within  reasonable  and 
relative  limits,)  the  pupils  are  forced 
to  think  for  themselves,  and  the  result 
will  be  truly  beneficial,  because  they 
must  make,  in  a  short  time,  aprogreai 
which  could  never  be  anticipated 
from  following  a  feeble  and  puerile 
course,  that  could  hardly  be  expected 
to  command  their  serious  attention 


*  Accidentals  are  the 
Sharp, 

# 

Double  Sharp, 
x 

Flat, 
b 

Double  Flat. 
bb 


He 

— X 

S2Z 

1 

— & 

2 

3 

G> 

4 

3 

S> 

2 

l 

— &- 

r X r-. 

:  ■■    «  ■      - 

£5 

"     4_ 

3 

.      2_ 

1 

-£- 

1 

— 9 

8 

Ending. 
4 

ig_ 

23" 

& 

.....&:  . 

a   • 

« 

—  "  a 

[wiversittj 


LESSON   II. 


I 


M 

X 

-gr- 

4 

—h~ 

X 

2 

4 

-.  .  ©...  . 

2 

• 

l ■* n 

"  a 

JK\7 

4i 

X 

— ?5 — 

— a 

— a 

X 

• 

B 

Ending. 

m — 

0 

o 

1 

:  et  ■ 

c 

a 

4 

& 

..  c 

• 

a 

» 

Repeat  each  strain  twenty  times. 


A  ■ 

v 

2 

\t 

2 

4 

2 

4 

O 

2 

42- 

€3 

&  . 

O" 

o 

A 

« 

o 

• 

a 

ffh 

*Sr 

w 

o 

n 

X 

X 

O" 

4 

.     .4    . 

""»■■ 

■     «SJ 

.         4 

\y 

C3 

a 

22 

«■ 

0 

0 

• 

<o   ' 

These  first  lessons  should  be 
played  very  slowly,  with  an  equal 
touch,  avoiding,  above  all,  any  stiff- 
ness of  the  fingers. 


Great  care  must  be  taken  to  raise 
the  fingers  when  the  time  of  each 
note  has  expired,  (for  the  sake  of 
distinctness,)  and  to  keep  them  down 
the  full  time  of  each  note,  so  as  to 
blend  the  sounds  together  as  much 
as  possible. 


Stiffness  of  performance  is  the 
greatest  and  most  unfortunate  fault 
of  beginners.  The  best  method  to 
prevent  it,  is  to  play  very  slowly,  to 
finger  carefully,  and  not  to  attempt 
a  quantity  of  tone  inconsistent  with 
the  physical  powers  of  a  young  per- 
son. Stiffness  will  lead  to  a  con- 
traction of  the  cords,  which  will 
eventuate  in  a  dry  and  heavy  style 
rt  performance. 


2 

v 

2 

2 

4 

2 

4 

ij 

o 

-    gj.. 

...                     . 

23   " 

22 

X    -    —    ■    ■ 

JT 

2? 

• 

e>- 

f/T\                                                                                                                                                                                                                                                                                        • 

Vm/ 

n 

Q 

n 

X 

X 

fS"- 

4 

4 

«=» 

25 

4 

v£ 

23 

O 

23"  - 

"23 

. 

2? 

O 

. 

'  "g 

C\. 

2 

2 

v 

2 

4 

2 

4 

9 

23 

0 

'    23  ' 

23 

/ 

rz 

<s? 

• 

o 

frh                                                                                              • 

"k 

•/ 

X 

X 

f?v 

4 

4 

« .... 

.    22. 

4 

v~ 

22 

.    .£3.._'.. 

25" 

c 

a 

23 

• 

22 

,   , .   . 

2 

2 

4 

2 

4 
0   . 

2 

V 

1r 

a 

"23 

'     25" 

22       

x 

.... 

'  ■» 

• 

o 

ffn                                            •  ■ 

«jj 

* 

X 

X 

/Fv   " 

*    - 

4 

g^ 

G> 

4 

vu- 

B 

"25     "' 

23" 

0 

• 

■  ■«  ■ 

• 

.    ..  .c?:... 

—            

4 


221 


4 
,0 


9 

22: 


221 


'0~ 


22: 


221 


X 

22; 


_<?_- 


Ending. 


LESSON  III 


1 

4 

3 

1 

3 

i 

-    w             — ' 

Y 

o 

a 

iF" 

..,..,. 

a 

o 

ft-  i                                                                                                                                                                     * 

Y 

X 

1 

© 

_f '..■" 

» 

1 

8 

3 

-   ..      4 

*S 

23"     

&'" 

,--) 

23 

C? 

^^           • 

23 

—  —  -    v    ,„„ 

z 

< 

2 

4 

% 

1 

3 

1 

3 

1 

23" 

23 

"'  23" 

J-       °    " 

'«" 

B»              . 

23 

>A ' 

~h~ 

>L 

1 

1 

©     "■% 

_jST 

3 

8     ' 

gg 

8 

4 

p  » 

23 

23 

,-3               • 

23 

c^             • 

,.,     . 

5 


Music  for  the  Piano  Forte  m 
written  on  two  staves. 

The  clef  of  G,  (treble,)  is  placed 
on  the  first  stave ;  and  the  clef  of 
F,  (bass,)  on  the  second : 

Clef  Of  G. 


i 


Clef  of  F. 


£ 


1 


i 

2 

3 

2 

4 

2 

4 

23 

1 

3 

l 

3 

\l 

"_23  " 

23"   " 

O 

fk— 

.23 

• 
• 

23 

i_ 

X 

0— 

X 

i 

1 

fS1 

i 

a_ 

<2L 

23" 

a 

S_ 

4 

W" 

_£?~  : 

'    23 

23~~ 

&                   . 

"_23" 

• 

C? 

Sometimes  it  is   necessary   to 
place  the  same  clef  on  both  staves : 


£ 


-"F 


I 


ets — i"    i     i     i      I 


IS 


1 

2 

3 

2 

3 

1 

4 

2 

1 

3 

2 

4 
S3 

1 

4 
23 

y 

23 

23 

^ 

23 

23 

x-  -   — 

M_ 

23 

25 

• 

23 

rir\                                                                                                                                                                                   * 

\H/ 

n 

31 

r* 

1 

X 

1 

X 

X 

*?>•  ■ 

1 

3 

8 

23 

8 

23 

ft 

JS2 

-'".'      4     ,' 

>5 

<5> 

2V 

23 

23    " 

• 

(V 

23 

• 

o 

g- 


iP^ 


E 


:5 


^-? 


a 


■  -V 

1 

t 

2 

3 

2 

3 

2 

3 

4 

23 

3 

2 

3 

1 

4 

. 

23 

23 

O 

>"3 

X 

23' 

23" 

• 

<o 

1 

1 

1 

X 

1 

1 

X 

^ 

r  ..    i 

II 

\ 

3    " 

-  S>  ■ 

23 

— a — 

a 

fS 

4 

v= 

23 

2V 

2> 

i*3 

^_ 

• 

*                ^ 

.23 

• 

23 

Sometimes  the   same  stave   u 
used  for  both  hands : — 


irfl 


/ 


Sffi 


l«F 


e 


g 


as 


s^ 


-0 K-J- 

2 

3 

4 
C3 

2 

— 23— 

3 

4 
«5> 

8 

-X— 

1 

2 

3 

1 

2 

1 

I * r 

A — ^~ *" 

O- 

23 

-<»- 

_S2_ 

-<s>- 

g,  . 

-O-— 

23 

vfi) 



• 

a 

1 

X 

1 

X 

1 

g£         4     ■■» 

gg 

2V 

23 

8 

— 5* — 

» ■■■■ 

— fl — 

3 

4 

2> 

e> 

2V 

f? 

f? 

—-,      • 

i *r~&- 

-    — 

ft» 

^      . 

: B : 

LESSON  IV. 


— 

a 

A 

3 

a 

4 

1 

3 

v 

2 

1 

3 

1 

3 

2 

4 
O 

0 

-  or  ■ 

a. 

23 

o 

X 

O' 

..  o  " 

• 

G» 

ffh 

\w 

<p 

1 

o 

X 

1_ 

Q 

1_ 

i 

Q 

X 

ffv 

3 

23 

3 

A 

.. 9 

■ 

o 

4 

K2 

W" 

« 

■    0-  ■■■ 

s? 

0-     , 

S3. 

• 

'23   " 

~BT  . 

• 

o 

rt           2 

.  y 

3 

0-  - 

1 

4 

3 

3 

1 

a 

3 

1 

3 

1 

4 

a 

y        » 

s. 

23 — 

23 

S2. 

23 — 

• 

"   & '" 

rf  ^                                                                                                                                                         * 

_.      ..jj  ... 

1 

X,. 

1 

1     .,. 

1 

4 

g5_ 

H 

23 

"■ 

—4 

— & — 

_    B 

■ 

23 

4 

V,'        ° 

— fij-- 

23 

© 

■    a  "    • 

C? 

23" 

• 

O 

t\ 

x 

a 

1 

X 

I... 

3 

a 

1 

a 

4 

3 

2 

1 

3 

2 

1 

v 

SL 

e. 

—  23 

_  0... 

« 

O   "" 

iL 

.  c?._ 

23" 

°»           • 

23 

fft                                                                                                                                                       • 

VJJ 

•r 

n 

_    1 

x_ 

1 

i 

ffii 

4 

a 

4 

3 

3    " 

■  ■— H 

23" 

■ »-  ■ 

3 

H 

■"4 

vj 

23 

^ 

23 

23" 

23 

m          • 

23 

S5 

•"          • 

C? 

A, 

a 

X 

1 

a 

3 

1 

a 

3 

4 

2? 

a 

3 

4 

3 

1 

a 

3 

r x r 

9 

"    23 

"-23 

""    23' 

23 

23 

/ 

a 

• 

<s> 

fifi    "       "■■    ■■                     ■"          " ■" ■                                                        .._    • 

w                                                              - 

h 

— 4 — 

a_ 

— 9 

1 

— ® — 

8 

— e — 

1 

— fi> — 

X 

— S — 

1 
— «J — 

X 

■«?■■■ 

1 
— « 

...g 

8 

i 

<S> v 

4  . 

\£— 

G* 

23"   ' 

— »-- 

c 

— & — 

0 

O 

«~ 

&E_ 

• 

» 

r x— 

l 

— s»- 

— X— 

23 

x       a      !       a 

1 

2 

2? 

3 

2 

o 

3         4 

3 

-SJ- 

4 

3 

— fiP- 

2 

23 

3 

a 

23 

3 

2 

23 

1         8 

-«-T 

:_5E_: 

f 

£ 4 

3 

_4_ 

-B        0      "B »- 

3 

8 

1 

-a— 

i  &- 

1 

"£" 

1 

-s>— 

-fl— 

1 

-a— 

1 

-fl— 

=H=5r- 

a 

4 

^ 

'       «' 

-S>- 

23 

_S> — g      g — S2_ 

S- 

_&?._ 

Gt_ 

_&£_ 

-« £^-- 

—&~i 

&-.  .    , 

l^T^l2l25,2i.23«34s3232l212l             ,             ,        2,2 

2r~ 

— «  ^o^  s>-  D  -«■  ^2-       ^         ^  -        "                    ^        °  tfD  g  m  °'a        o        'a  &  -» "23 — 

...    .      -X             - 

23 

^                                                     .                                                                                                                                                                                                                                                                                                            * 

J 

.                         «       „i«i^iXiX1_1_ 

fc 

.    9   -4—9    -^_9     -     »_    ^g,   "     (g,   J..^   23. up  «   rn   "     m   "     9_"     3     »     3_4_3    ^_la_»     Ji_" 

4 

-  *?>  1-3-"?  J-n  c  S?  ^-5?  **  <Z>  "  &  **         &         ^&&&<soe:i&,s^s:}*aOe:3o 

b~ 

,   .«?  :._. . 

b— 

OF   THE   MEASURE. 

PRELIMINARY   EXERCISES 

FOR   DIVIDING    THE    MEASURE    BY    CROTCHETS. 


Measure  in  Common  Time.     Count  four  crotchets  in  a  measure. 


-fr-^x 

i 

2 

3 

4 

3 

2 

i 

O 

<5 

X 

GE  C     ° 

a 

5Sr 

12    3    4 

Ml 

1      1      1      1 

12    3    4 

1      1      1 
1      1      1      1 

12    3    4 

MM 
i  i  i  i 

12    3    4 

Mil 
i  i  i  i 

1'  2    8 

4 

12    3 

1      I      1 
111 

4 

1 

1 

12    3    4 

III! 

i 

2    3    4 

12    3    4 

MM 

V^'-P-      .-, 

« 

s> 

w* 

& 

e*    " 

|       .^    -  <s> 

1 

r 

a 

1              -4- 

3 

« 

1 1 L 

Measure  is  tha 
division  of  time;  it  it 
determined  by  the  num- 
ber and  value  of  the 
notes. 

There  are  two  sorts  of 
time  —  Common  Time, 
which  is  divided  into  2 
and  Triple  Time,  divid- 
ed into  3. 

Common  Time, 

subdivided  thus :  — 


Measure  in  Two-Four  Time.     Count  two  crotchets  in  a  measure. 


=f^f]&c- 


_(2)  *_ 


-+- 


I  12 


ZBL 


je: 


4 


1  2 


s: 


^ 


1         2 


2 


£2.. 


Triple  Time, 

subdivided  thus  :  - 


H2H 


^&- 


■  Jebb 


&c. 


The  space  which  con« 
tains  one  or  more  notes 
is  called  a  Measure. 


It  ts  very  important  to  know  how  to  divide  and  count  (or  beat)  the  time. 
The  measure  is  beaten,  or  counted,  in  equal  divisions. 

There  are  accented  and  unaccented  parts  of  a  measure. 


a 
s 


s 


Unaccented. 

4 


Unaccented.  2 


3  Accented. 


Accented. 


*  ( 

1    R    J 

Una 

] 
Ace 

ccented. 
1 

I 

Measure  in  77 
or 
Triple 

1 

l 
ented. 

|  2  Unaccented. 


Measure. 


fill 


(1)  The  measure  it 
common  time 


is  indicated  by     s%  ■ 
this  sign  :  —    - 


It  should  be  counted 
by  four  crotchets. 


EJS? 


T- 


(2)  The  measure  in 
two-four   time 
is  indicated  by      12    ~ 
this  sign  :  —        4: 

It  should  be  counted 
by  two  crotchets. 


u 


8 


The  different  characters  which  fill  a  measure  are  as  lollows  : — 


Semibreve  Rest, 


Semibreve, 


Minim  Best, 


Minim, ....  0 


2 


Crotchet  Rest,  [* 


Crotchet, 


Quarer  Rest,*] 


Quaver, 


8 


Semiquaver  Rest,  ^ 


Semiquaver . . 


16 


Demisemiquaver  Rest,  ^ 


Demisemiquaver,  . 


32 


1  Bar 


<-! 


Hemidemisemiquavers  are  represented  thus, —  fcj    Sixty-four  are  equal  to  one  semibreTe. 


The  bar  is  a  perpen- 
dicular line,  to  denote  „  , 

h&    division    of   the       The  different  kinds  of  time  are  indicated  by  two  figures  placed  after  the  clef,  at  the  beginning  of 

measure  the  piece. 


Triple  time  is  ex- 
pressed by  the  follow- 
ing sign : — 


Count  three  crotchets 
a  a  measure. 


fera 


12    3 


Six-eight  time  is  ex- 
pressed by  the  follow- 
ing sign: — 


jS: 


-8- 


And   is   counted  in 
mo  divisions,  thus: — 


A  figure  [1]  represents  a  Semibreve, 0 

[2]  a  Minim, J 

[4]  a  Crotchet, J 

[8]  a  Quaver, '. J 


[16] 
[32] 
[64] 


a  Semiquaver, 

a  Demisemiquaver, 

a  Hemidemisemiquaver, 


J 


2  2 

Thus  j  represents  two  semibreves,  and  »  two  crotchets,  &c. 


The  Breve  is 

equal  to 

two  Semibreves 


Breve. 

a 

Semibreve*. 


N.  B.  —  There  are  longer  notes,  called  the  Long  and  the  Largr,  which  are  omy  employed  in  tne 
ancient  ecclesiastical  music 


OF  THE  DOT. 

A  dot  placed  after  a  note  increases  its  value  one  half. 


KUMPLE. 


— '         -l»l 

P 

• 1 

• — 

m    - 

r 

Lfi  zf- 

• 

■* 

f. 1_. 

1 

i 

■i 

— £ ,,,,7-L      - 

i 

EFFECT. 

The  dot  rep- 
resents the 

value  of  one 
crotchet. 

m 

j* 

-e — (=— 

■ 
1 

w 

m 

f     g_  H 

-f" fc=£zE 

1 

' 

p™" 

L_ F^-p-U 

When  two  dots  are  placed  after  a  note,  the  second  is  equal  in  value  to  one  half  of  the  first. 


— » r- T — :»- 

f1 .      ."     a 

—6 p — 

-r — 

r» 

— F — 

-  r  "C, 

— F — — - — F- 

l                                       > 

i                  "i — 

1                    -1' 

EFFECT. 

si 

W  s> 

■ 

c  s 

1                                       w 

02Tt*i1f^-m 

h»  -e 

• 
1 

......    1 

-f- 

> 

-U — i 

=£-: 

f          f       P 

ffefc 

f  f 

-  f  p=ffl 

A  dot  placed  after  a  rest  has  the  same  relative  value  as  though  placed  after  a  note. 


—6 — 

— 

w               '    ■*! 

# 

p 

— =1 

a 

w 

S 

ll( 

-1      » 

a 

3     *"  #   - 

— V 

— ■#• — 

i 

~_q_ 

-0 

l 

I 

— i— 

■5 

c* 

_ 

•                     • 

• 

h* 

. 

• 

—?- 

-1 

• 

•       # 

=3 

•    • .« 

L/ 

1 

L* 

1                                 l 

y 

u 

1                    Lj 

^  - 

A  Dotted  Semibreve 
is  equal  to  Three  Minims. 

A  Dotted  Minim 
is  equal  to  Three  Crotchets. 

is 

A  Dotted  Crotchet 
equal  to  Three  Quavers. 

A  Dotted  Quaver 
is  equal  to  Three  Semiquavers. 

o 

«l" 

..     > 

U«S 

O 

•J               1 

o            1 

Si 

4 

a!.'  ' *""':"■ 

a 

m 

• 

1  f         9                  • 

4 

zj_ 

o 

£ 

l  u            -    ■ 

t 

s 

i 

1 

M 

■ 

o 

■■J 

tr 

a 
a. 

2 

c 
a 
o 

| 

e 

D. 

< 

m 
■ 

8. 
f 
1 

I,,  o     ,  . 

I 

O 

I 

o 

r           r* 

^ — 

•y    5     c  ■  5 

•J 

•J 

J  . 

•J 

1            J 

j 

•J           Is      r      r 

q          a             a              a 

1 

a 

a 

9 

Q 

9               9    —  - 

* 

1   C          9         0         9" 

£ 

-* 

w 

10 

Minim  Rest. 

Crotchet  Rest. 

Quaver  Rest 

Semiqua  rer  Reft. 

...o    . 

O                     1 

o 

,       Q_ 

*) 

— gp m 

o 

~J P 

■o 

V 

"                   J 

v 

cfl — 

-4r ** ' 

-8- 

• 

~±-»3b — *- 

Value  of  the  dot 


Value  of  ths  in*. 


Value  of  the  dot 


Value  of  the  dot 


10 

If.B.  In  commencing  drts 
lesson,  divide  the  time  by 
counting  four  crotchets  in  a 
measure. 


ft-i  "1  X     ■iA^ 


{!, 


HU 


LESSON   V. 


Slow. 


EXERCISE  Ilf  RHYTHM, 


A  dotted  minim  is  equal 
to  three  crotchets. 

A  dot  placed  after  a  note 
adds  one  half  to  its  value. 


KEY  OF  C. 


EXAMPLE. 


DncT. 


m 


When  a  note  is  followed 
by  two  dots,  the  second  is 
equal  in  value  to  half  that 
of  the  first 


IXsHTLK. 


effect. 


A  dot  p  aced  after  a  rest 
has  the  same  relative  value 
as  though  placed  after  a 
note. 


y- 

EXAMPLE.    / 

C*        * 

1 

% 

l 

M 

effect,    r 

#        w 

\ 

I 

^ 

i 

Semibreve. 
0 

One  semibreve  is  equal 
to  two  minims. 

Minim. 


f 


One   minim  is   equal  to 
two  crotchets. 

Sotted  Minim. 
P     • 


Q 


W, 


COMMON  TIME. 


f; 


m 


-& 


^ 


4 


X 

is?: 


s 


2 


P 


9 


ZJOL 


"I 


£ 


~g~ 


321 


:ffl- 


1221 


t 


:fi=S 


5 


,g g- 


^~(» 


£■ 


j=m 


P 


?a- 


js: 


£ 


? 


isz: 


£ 


53.: 


~o~ 


rt 

— s. .. 

EXERCISE  FOR  SHOWING  THE  USE  OF  THE  DOT. 

*                         3 

u 

a. 

^ 

c — 

/Lp 

& 

"  r3 

r 

a 

tin1-' 

1 

1 

uu 

Mil 

1  I  1    1 

IMI 

MM 

X 

MM 

1 

MM 

IMI 

1  II  1 

f?y 

* 

.  «s> 

\i:*f» 

ts    '      m 

B 

— 

i°     « 

^-*  Vj       a 

r 

o    ■ 

1 

! 

1 

i 

a 

m 

4 

3 

3 

i 

^  l  - 

Q 

•    r 

"5> 

s^      m    - 

'Zjb 

9        — 

JLf* 

a 

i 

=•» — 

,     ar, 

wh^ 

1 

i 

xXp 

•7 

X 

I 

1 

(9"           l 

O 

^k. 

m       m    r 

P* 

O 

*    m 

o  ,. 

<s        — 

^-,  C       a 

r        1     ' 

1     r 

1 

■" 

"     -«5>-     ■  " 

1  r  i  ' ' 

1 — +-H 

) 

1                   * 

ISC 


32: 


221 


■-»- 


4 


i 


x 


fefc* 


"i — r 


-T 


a^=r 


£ 


si 


^ 


is: 


One  dotted  minim  is  equal 
to  three  crotchets. 

A  dot  placed  after  a 
minim  is  equal  to  one 
crotchet. 

One  semibreve  is  equal 
to  tVur  crotchets. 


0      0      0      0 

MM 


£ 


:s2i 


1=± 


~3I 


£ 


fit 


2 

S2I 


£ 


fiE 


t- r 


3 


-e 


r 


£ 


£E 


"1^:=:*: 


*± 


_J o «-l 


--p— 


3 


2    J    .     2 

-y-f-W-r-^ 


:tt=t 


.pzc=.  _r 


-g-A  ^e 


1 — LZi    I    tzcjtzzzi 


2s: 


It  if  highly  important  that  the  due  order  of  the  thirty-six  lessons  which  follow  should  be  strictly  adhered  to,  because  they  have  been  arranged  in  a 
methodical  manner,  in  order  gradually  to  familiarize  the  pupil  with  the  use  of  the  sharp,  double  sharp,  the  flat,  double  flat,  and  the  natural,  in  pas- 
sing through  the  degrees  of  the  ehromatw  scale.  The  mechanioai  diffioultlas  have  been  so  proportioned  to  tha  labor  as  to  render  them  easily  progrw* 
air*. 


LESSON   VI. 


II 


~zz:. 


xzc 


^  O     mP? 


iz*=£ 


t 


r~r 


£ 


&-r 


nFfl 


,«2_ 


P 


±E£ 


i    i    r 


£ 


(O— 


-M-J— 


£ 


.-#-£ 


■fP: 


^ 


£ 


V      _     *      ■ 

»-p^zwi 


-p~ 


A  Minim 

is  equal  to  two  crotch- 
ets : — 


j^gjfegg 


1: 


e--- 


££ 


-m-P-T-p- 


-\ — i — r 


i    '    r 


£f£ 


~r~' — r 


x 


P 


tlzwdt 


-JdtXl 


f-f- 


mnr 


a^g 


*   i   M 


££& 


19-Pzf-Pl 


i — I — r 


"i — r 


-x- 


fi" 


IES 


f 


-az^: 


^ft=f 


— -p--- 


fl 


SsS 


r~rr 


-a — ft 


m 


izi 


P 


xzc 


P--F£ 


¥? 


S£ 


C£ 


*   '    -  ■  ■    X  1  X 


1« 


X   j    X    1 


gg 


^^ 


e  n  a 


n    ■    r 


2-2 


3EZT 


5g* 


r-i— »— r 


jg2T~ar 


sziz£-3- 


i    '    i — r 


\ 


Minim  Rett. 


A  minim  rest  is  of 
equal  duration  witk 
the  note. 


~&-^£ 


W 


C     a    .  P 


2     3  3 

pzPz^iPi 


"zzczf 


s->z 


r  r 


-t~r- 1 


F 


*  1  ■*- 


~i — i — r 


~ ~P _| —    '   ' —  zz 


~i — i — r 


$m 


&■ 


2 


6# 


'-Ft- 


m-P-M-m- 


£ 


?£££ 


g ; 


Semibme  Best 


A  semibreve  rest  is 
of  equal  duration  with 
the  note. 


s-e- 


-*- — f- 


w 


£==f" 


zzzjzrx 


!f^f^ 


t 


S> 


i-?nr 


4 


Xi    1»  lar 


x 


-F 


(•-r— 1» 


a-tgf 


^r 


"i — r 


"i r 


zss: 


The  dotted  tnin-:rn 
is  equal  to  three 
crotchets :  — 


zp—f-pz 

zjz-zrzzz 


gzzH 


ft                  V               * 

3                » 

i           * 

3               * 

a  3  4 

i  a 

li" 

i 

y                    » 

-   fa    "•       r*" 

w 

•  i* 

X  m  & 

«  r  *.  - 

J      r*      a     •    P 

1              1 

-  r*^ 

-*         i 

1 

i    i 

,  _  p   », 

i    p      E- 

«,  — 

ft)  ™              ' 

'               1 

i 

■  1 

i    i    < 

r-f 

1 

vSJ                   i 

■ 

1 

I     1 

i 

--* — J- 

-a a- 

-e-J-£— 

-T-S-« 

-szh^c 

^&=^-P- 

l-p-^-p- 

- 

*-±-f- 

-f- — r 

H*-^ 

-4=fP— 

-f-^f-r 

_..  -a.. 

i          1 

..""   1  " 

-,_         I   ■ 

i      i 

n      ' 

rii 

1 

1         ' 

1 v 

r  r  ;• 

1       '  - 

j 


^^  OP  THU^7^- 

[W17SRSIT' 


12 


LESSON    VII 


LESSON 


FOR  SHOWING 


(  1  )     One    dotted 
naumn    is    equal    to       the  use  OF 
three  crotchets. 


A  dot  placed  after 
a  note  increases  its 
value  one  half. 


THE  DOT. 


Count  four  crotchets  in  a  measure. 


(2) 


Semibrere. 


car  cur 


One  semibreve  is 
equal  to  eight  qua- 
vers. 


121 


ss 


(S~ 


-X- 


1  x  n  x 
-1   -  a 


SHEF 


^=f=f 


3 


jtLvmv 


=f-F:F~ 


h-p-z 


? 


¥ 


x  n  x 

*-Q-#- 


th: 


?: 


X X  I 


£: 


X    _  X 


3 


£ 


x     x 


:r 


.!_-_!_ 


T- 


-W-T 


~i — r 


*£ 


^ 


g-^rl 


ipjsEI: 


(3)  The  dotted 
minim  is  equal  to  six 
quavers. 


LESSON 


(  4 )  The  minim  is    ra  ftUAVKRS, 
equal    to    four    qua- 
vers, for  THE 

(  5 )    The  crotchet     LEPT  hand. 
ks  equa.  tc  twa  qua- 


(6) 


w 


*„  X 


*~f-pf—f-9 


m 


:FP= 


t~i — rT 


4 

JSL 


iBTF 


t 


TT7 


i — r 


E 


r; 


^=- 


2 

3E 


X  x    X 

szp:~ 


3 


IEEE 


:«5" 


x„  x 


i    rr~M i    r ill   i    r~i — i— i — r~ 


Countfour  crotchets  in  a  measure. 


4 

(2- 


i 


i — x- 


3sz: 


321 


^1 


I    i — i — i — r 


ft  7Wv<^ 


EXERCISE 

OK  FIVE  NOTES, 

TO  GIVK 

Eftf  A  L.  FORCE  TO 

THE  FINGERS. 


ffi; — f-j—pj — i — i — I — i —  IZiZZfTJ^J  Uracil    i     i     i    I    t 


r    i    r^j — r~r     — r- 


te^ 


*  i  *j  i 


I — I — dEZj 


T1    r    ^# ". lI  r  #-» 


"i — ! — r 


"i — r 


Fine. 


O' 


♦   »  » 


..... 


CaoU-  <£)• 


LESSON   VIII. 

3    2    3      4 


/ 


1 


EXERCISE 
SHOWING  THE 

USE  OF  THE 
riE  AND    SLIK. 


-X_LK_L_    '^ 


S^£E 


52: 


~r~i — r 


1) 


i^r-r:H==:  zzzsszir:: 


P 


&£ 


fffl^fip 


x 


fci*- 


£££ 


adfcjdEjE: 


r- 1 — r~l — r 
i     i 


-a- 


&*£ 


13 


Count  four  crotchets  in  a  measure. 


(1) 


A  Tie. 


A  Tie  is  a  curved 
line  placed  over  two 
notes  on  the  same  de- 
gree, to  signify  that 
the  second  should  not 
be  struck. 

Example 


S 


Effect. 


A.  similar  mark  is 
called  a  Slur,  when 
placed  over  a  grou  > 
of  notes  on  difi'ere  it 
degrees,  and  signifies 
that  the  sounds  should 
be  connected  together 
by  holding  one  note 
till  the  next  is  struck. 


EXAMFLX. 


Legato. 

An  Italian  word, 
signifying  smoc  tliness 
of  execution. 


')&* 


14 


EXERCISE 
OH  THE  TUB, 

FOR 
BOTH  II A5DS. 


Count  four  crotchets  in  a  measure. 


P 


22! 


g= 


BE 


S 


-2_1 


4 


/ 


3*3 


ES 


t¥? 


£ 


i    r 

'i — i — r 


is: 


J         ,*a£ZEn 


i  x  V  x  1  x 


sz: 


5BS 


4 


I     I     r 


4^x- 


9-r-9-0 


ZZJBL 


ILZCZT 


1 — I — r 


f3 


iEfefei 


1 — r 


m  »  l 
^3 


j-j. 


:FF 


is?: 


j  <— 


y 


l-^AAJUJ 


\  -SI; i — i — | — I — i — i — i — r~ hi — i — ' — i r  i — i — r 


EXERCISE 

ON 

FIVE  NOTES. 


THIS  SCALE  ' 
MUST  BE 
PLAYED 

VERT 
•LOWLY. 


— r-j — F— i — I — i — i — I — h — i — r~i      i    r  r  I 


3  -     o  3 

1  A         *  1 

?ff  ffrt 

1 — i — i —  i — i — i — r 


:s=i=5: 


EEa 


t~i    i — i — i — i — i — r 


x 


_A_a_ 


yffnrrrt 


iJ 


*     u     s      (J  1      1> 


LESSON   IX. 


Counf  /bur  crotchets  in  a  measure.. — ." 
-pi"—*- »■   

-t7 — i t~r  - 


4  3    2 


~321 


i X- 


jBa^ 


15 


EXERCISE,  I 

SHOWING 

THE  VSE 

OF  THE 

DOT. 


Slow. 

3 


JET- 


~l — f 


1 


X    -1 


pz: 


zbzsezil 


4 


SL 


T — I — r 

i 1 — r- 


s: 


? 


¥ 


ff-r 


-a-i 


Efg 


-34 


wm 


X 

:s2i 


* 


EXERCISE 

IN 
TENTHS. 


EXERCISE 

FOR 

FIVE 

FINGERS. 


(1)  Care  should  bs 
taken  to  strike  both 
notes  exactly  together, 
and  avoid  aiy  motion 
of  the  arm,  or  stiffness 
of  the  hand. 


I  d 


<?■-  r l  lJ 


0~ 


ou 


V 


r-- 


LESSON    X. 


Slow 


(1)    Sharp.    # 

The  first  sharp  is  always 
placed  on  F. 

~9 — # 


EXERCISE 
ON 

RHYTHM. 


Rhythm. 

Rhythm  is  the  division  of  a 
certain  number  of  sounds,  of 
different  intervals. 

The  rhythm  of  an  air  may 
be  expressed  by  the  value  of 
the  notes,  without  the  melody 

In  the  marching  of  a  mili- 
tary corps,  the  drum  marks 
the  step,  by  the  effect  of  the    Slow. 
rhythm  alone. 


Melody. 


Count  eight  quavers  in  a  measure 


VErr  r  f  ff 


i — r 


Rhythm  of  the  air  below. 


33H3ES3 


+  +  * 


frff- 

I — I 


~p-r 


1 


\*- 


32 


££ 


$ 


£2- 


if  ; 


t 


t 


221 


*     f  -P-  -f- 


T  l  I  I 


3  3 


3 


T 


:#:zq: 


4 


3 


m 


~T 


JjZZWZlJ 


2 


A 


m 


3tt 


gj3 


X 


1 


--H-H 


!k 


^ 


3 


§ 


x 


321 


1 


T"   r 


122: 


2    •-  3  -f8- 

f-F-p-F- 


m 


2  0 

*=££ 


T 


(1)    Sharp.    # 


The  sharp  before  a  note 
raises  it  a  semitone. 


C  natural. 


3r*= 


C  sharp. 


I 


S£ 


x 


#  ,,T 


•_     3    A 


I         T 


£ 


je: 


t-±U~t 


£ 


*  t 


3       0 


?=P 


f 


-<S> 


*  -r- 1^ 


^=F 


4 


i 


*: 


0 

1.1 


-i- 


C#  is 
the  same 
as  J)\)  on 
the  key- 
board. 


C# 


:«C 


5£ 


Db 


Sloiv. 


A  semitone  is  the  smallest 
hMarval. 


tifc 


4 
_!2_ 


.4. 3L_2 


£ 


^ 


^£ 


•??zz^ 


i^ 


■m 


P      f    W~ 


^ 


S3 


17 


EXERCISE 

ON  DOTTED" 

MINIMS. 


(1)  Lento. 
2 


TT&T—jr 


pae; 


jP- 


r 


i 

4    •#--]' 

S3 


X 


•     3 

r    a. 


*T" 


:c: 


-iE 


X     2     * 


JCX 


X 


T 


F- 


4 

j 


T 


1     X 

Ml 


T 


{S-i. 


4 

1       <S>     » 


:! 


2 


^ 


Count  four  crotchets  in  a  measure. 


x 


(1)  Lento,  an 
Italian  word,  whwh 
signifies  5/ow. 


4 


X 


L:-#- 


^ 


£. 


:r~x 


:r 


x 
1    f?L 


I 


:x 


ix 


x 


±4=£± 


zxz 


4 


# 


m 


tt 


:x~ 


f- 


'i — r 


4    ■#- 


"i      r 


X 


.: 


3 


*£ 


*.                  4 

-4= pT 

4                       * 

,                               1 

-    r               J 

:^    a. 

9     *       « 

H=    r 

1      x 

4      -#-   -,«- 

i     x 

4   ^na 

I  r  f~ 

i     x 

1      x 

,if  f- 

s?      • — 
1      x 

4     -,-   -p. 

^-#-r—- ! — I 

9 
"f-   ' 

-r~  i "'    ■ 

frt    b      - 

f=Lr    . 

[     ' 

"I "-   ' 

-I 

-j 

-T —            ' 

4 

4 

f     EXERCISE 
ON  FIVE 


NOTES. 


iTR. 


j  0  -\ 


2121-  -  2323 

iffffrff-pfrfrfrf; 

2.  I     I     ii     i — i     i     i      i — i     i     I     i     i     i     r 


~t~i — i 


P— —g-ft-g-— — - 

m    i       i       i  I       1       I 


T^i     i     '     f 


Mot 


t  r  i — i   czn 


* 


/ 1. 


18 


(1)      The  first 
two  sharps  are  al- 
ways placed  on  F    key  of  d. 
■aid 

EXERCISE 


m 


t 


OX 
RHYTHM. 


0) 


X 


t^m^" 


SCALE  IN  D. 


m. 


BEgEE 


2     * 

r  i    I 


LESSON   XI. 


&±u* 


x 

■P- 


^-£ 


i    r 


1      2 


& 


"I     r 


E£ 


=«=*: 


3    1 


Count  four  crotchets  in  a  measure. 


% 


Capo. 


Lento. 


Sign  to    repeat 
from  the  beginning. 


» 


*e=fc=p^ 


&__ — a. 


L 


s 


«^fe 


£ 


ff 


f 


£ef£ 


i 

S2I. 


-#-*-!» 


£ 


tfd 


p 


^ 


fez 


fe££ 


? 


E 


tfi 


:F 


3 


PPP 


19 


Eeit. 

r 

(3)  Crotchet 
•est,  equal  to  a 
crotchet 

•Rest,      j" 


g 


i 


STrf'r 


:«: 


? 


J— F 


5=5 


ff# 


e 


1  x 

3CC 


re  If   «P   :izfc*it: -*r 


H 


<s- 


£ 


EE> 


4 


[fe 


t_t 


r 


^ 


^ff# 


f-HF 


T~*" 


m. 


Fine. 


Z 


^sa* 


P 


^ 


iS^f*- 


^frg 


(3) 


£ 


:r_ 


rrr 


x    ,  x 


-  i£M 


.Note, 


*r^=r!W^m 


X     ,       X 

w     /■-■—» 1 — 


«: 


C — L 


X    l    X 

tfff 


•g — ~r 


X        X 

Ifff 

r  i    i    n 


T&Tf-t 


~&L. 


rT-r- 
T"r~r 


P 


£* 


=1 


g^Eg 


X    !      X 

fr£ 


■^ 


f 


3z: 


RETURN  TO 

VHE  SIGN, 

AND  END  AT 

THE  -WORD 

•'FINE," 


(4)  Practise  this 
passage  very  slow- 
ly, and  connect  all 
the  notes. 


EXERCISE 

ON 

THIRDS. 


\   I 


eXERCISK 
ON 

SYNCOPA- 
TION. 


1)     Syncopation  for  the  right  hand. 


:£— 3: 


:&eT 


i 


Lento. 


m 


ilEfcE? 


7&L. 


Mil 

II  I  I 
£ — fe 


£ 


^ 


^ 


R- 


22 


£ 


•f-     ^ 


r 


*=fc 


7\oo  Seats  in  a  measure. 


z 


~327- 


ate 


» 


els 


zz 


19 


( 1 )  Those  notei 
are  called  syncopated 
which  are  accented 
between  the  beat*. 


Lento. 


Allegro. 
t#r— *-*■ 


1X321X3    21X321     X     3    2    1X321    X,   3  81X381X 


%t*tp-pzp-p-p-p-p-p-  p  p  p-p  p-p-p-r  -p-p-p-p-pzp-p-\ 

^-tiH — I — i — r~i — i — i — r~  -i — I — i — i    r~i — i — r~  j — i — i — i — I    i    i    i 


n — i — r 


Articulate  slightly  with  the  wrist. 

Lento.(2) 


Bfc 


■s>- 


i-e-o 


i    r 


:i — c 


-P-P-Pp-Pffp^ 


-<&-■ 


~n — r~rT~r 


-<s- 


A  CHORD. 


Syncopation  for  the  left  hand. 


IgFfcE 


X 


X 


:fc± 


:£± 


-X,- 


^ 


Z22I 


^ 


Two  beats  in  a  measure. 


f 


3 


:sz 


>~^ 


s 


^ 


3 


*  p    j* 


T" 


EXAMPLE. 


fc  6FFP 


£T 


m 


VZ.fl_JS_ 


--A_ 


(2)    Chords. 

When    three,    fot 
five,     or     more     notes 
are  struck  at  the  same 
time,   they   are    called 
chords. 

A  Chord  of  three 
Notes. 


A  Chord  of  four 

Notes. 


A  Chord  of  foot 
Notes. 


--R      ft  * 


1°  f°fy? 


20 


& 


b  o 


LESSON  XII. 


(1)  The  first  three 
•harps  are  placed  on 
F.  C,  and  G. 


-*L_ 


EXERCISE 
IN 


s 

I 


0) 


^m 


1 — w 


-n^ 


z^j^p 


S^^lto 


( 3 )  Measure  in 
triple  time  is  thus 
marked  : 

3 

4 

It    is    counted     in     K*ERC»SE 
th«se  crotchets.  on  the 

CROTCHET 
REST. 


gy 


(2) a  /-J 


4 


Sz^E 


:^~: 


Fr  t 


5: 


£ 


=F 


3c 


, X_ 


4 


2 


xsz 


42: 


3 

)S2_ 


5* 


jg 


s: 


-fl-i — 


■42- 


2 . 


rr 


'-ft-"' 


gryr 


Cojm*  tAree  crotchets  in  a  measure. 


4l 


(  3 )  The  crotchet 
rest  it  equal  in  value 
fc   ne  note. 

Rest. 


I* 
I 


r# 


.«- 


£ 


ii 


:«: 


*: 


£ 


^ 


4E 


H 


3 


22: 


£ 


3" 


:? 


n:x: 


3 


=£ 


TX 


rs:     zzi 


?£ 


xis: 


T~ 


:<?:: 


x    x 

2  „  2   -  2 

frrrrr 


•TTTT 


r-r~r~r-T 


£- 


E=&: 


Fine. 


i       r 


Crotchet 


(4)    Mark  of  abbre- 

riation. 


To  repeat  the  same 
notes,  as  in  the  previous 
aeasure. 


X 


^z£ 


£ 


£: 


?- 


£ 


J        I 


"^~*" 


I        I 


^ 

^ 


3: 

ri — 


:*=r 


3EP 


Li 


*i£. 


JS 


SEE 


=t=f^p 


fe 


«  8 
3 


i=fEE 


5 


EXERCISE  I 
ON  1 

RHYTHM,      1 
AND  TO       J 
OBSERVE 
THE 
.CROTCHET 
REST. 


EXERCISE 


DOt'BLK 
NOTES. 


(1)  Care  should  be 
taken  to  strike  the  dou- 
ble notes  simultaneous- 
ly 


(2)  When  two  kinds 
of  fingering  are  given, 
the  lower  figures  are  in- 
tended te  be  used  vWin 
the  hand  is  iVifTW*  tt 
reaching  tlw  oeti»*i». 


£*&, 


Lento 


EXERCISE 
ON  CHORDS 

FLAYED 
STACCATO. 


(4)   Exercise  on  the  quaver  rest. 


&C£  *  *jf~ii— 


3 
X 


n  i»—pp~~)  »"Ta-  IZLBITIZLS -L9f 


¥=&=V 


i 


tJL 


E£Pi&S* 


^ 


ZL 


X_2 


zzLtzi: 


X 


_*_> 


4 
X 


3 
X 


a     a 

z2x 


3 


.•  r 


- z  1  Jl  1  .■ iu Irt   x— « 


x_ 


:t» — 1* 


*    f-zH~-*~\    *~    r  __ 


ZX~-2T~r~r~Z 

IzdS 


(3) 

S 


1 
Quaver  rest. 


r 


f  Quaver. 

The  quaver  rest  is 
equal  in  value  to  a  qua- 
ver. 


(4) 


0 
1 


1 


Effect.  • 


A  staccato  note  is  ex 
ecuted  by  giving  it  about 
a  quarter  of  its  value, 
and  striking  the  key 
with  sudden  force. 


/a. 


~y.> 


22 


(i) 

The  first  four 
sharps  are  al- 
ways placed  on 
F,  C,  G,  and  D. 


fct 


KEY  OF  K. 


LESSON  XIII. 

2    4 


(2) 

Natural. 

n 

When  a  note 
is  affected  by  a 
■harp  or  flat,  the 
nrtural  restores 
it  to  its  original 
Mund. 


EXERCISE 

IN  NOTES 

DEMI-STACCATO 

AND  LEGATO 
ALTERNATELY. 


(8) 


/ 


The  demi- 
staccato  notes 
are  executed  by 
giving  to  each 
about  one  half 
its  value. 


EFFECT. 


.ftft 


Moderate. 


$ 


\% 


x 


t*  DEMI-STACCATO, 
WALTZ.    P. 


*23 


:*-*i 


3 


3 


Z3 


33S 


£= 


(2) 


s&— 


:-  <? 


S 


e=£ 


g± 


(3)   Lesson  for  observing  the  quaver  rest. 


■# 


ftH^r- 


sl 


1 


-fcri — i — o" 


-i    i    r 


£ 


J* 


x 

HE 


-g-*— 


11X3 


a  3  *  a 


~rf  rr~?r 


"i — i — r 


"i — i — i    i    i    r 


*fiL 


*%rf-f 


£5E 


U* 


t   '    r 


I 


2 
X  • 


Pit  Fmx 


2 
X-i- 


,**    Pi  TFmi    x:1;1-    me        ^     i  a  •   ■  1«  -f-f-r-f-#  i 

-  P-r--| — r  ".U—     t- 


X   f    1    X 


s 


2_1 JLi 


D.  C. 


EXERCISE 
OK  RHYTHM. 


Lento. 


e 


3se 


£#-£ 


gBZI 


rf 


TX 


£ 


f  f  ffr 


Count  eight  quavers  in  a  measure. 


rs 


Lento. 


LESSON  FOR 

CHANGING 

THE  FINGERS 

ON  THE  SAME 

KEY  WITHOUT 

REPEATING 

THE  NOTE. 


(1)  Change  the 
finger  without  re- 
peating the  note, 
and  keep  the  thumb 
on  A. 


i 


(2)  Glide  from 
the  black  to  the 
white  key,  without 
quitting  it — that  is 
to  sav,  from  D#  to 
£. 


(3)  Incline  the 
right  hand  to  take 
G-B,  and  do  not 
quit  the  F#  until  it* 
full  time  has  ex- 
pired. 


(4)  Change  oa 
D-B  with  the  left 
hand,  without  quit- 
ting the  keys. 


3^ 


24 


(1)  The  first  five 
■harp: 
on  F. 


The  first  five  / 

is  are  placed  I 

,  C,  G,  D,  A.  \ 

_*_# MB    / 

i 


(1) 

__« ^ ,_s 


LESSON   XIV. 


— -i— 


* 


^ 


^ts^ 


x 


r~r~i — i — i    I    i    I     ~*g^~i — r-  w»— — r 


L     9     *» 


f=* 


LESSON  IN 
DETACHED 

(2)  Take  care  toR  DKMI- 
to  connect  well  the  staccato] 
melody.  notes  for 

THE  LEFT 
HAND. 


Lento. 


w 


*£: 


321 


(2) 


icb^ 


*Sfe^E 


(3) 


"pr^ 


f 


-2_#L 


? 


see 


T=p 


fe 


3 


X         X 
2     •     1     • 


:' 


-f— jBT 


1  I*  !  f 


T 


X         X 
1.2. 

3EJ — ill 

— r~rz 


-| 1 0- 


3_j>_2    • 

•     m     •     r 

:rf3Er= 


-£=3z 


T 


T2 


r 


(3)  Give  the  i 
tached   notes   one 
half  their  value. 


JiXAiltLE. 


IXXX 


de-     / 
>ne     I 

'     ) 


t#T* 


rt 


i 


^ 


-F4 


X 

•  1 


ggggs 


*-&■ 


i r 


1 r 


1        x 

•     3     •     3 
»     0     ♦ 


£ 


nc 


;F=tf: 


s: 


2     3     •     3 


~?m- 


^ 


X         1 
•     3     •     3 


g 


3 

5C 


*      x 


m 


<B.. 


2  1 

I    4       14 


IXZIB 


I r 


:^ 


i       x 

•     1     •     4 


(=3 


9EBE 


ffe? 


IXL_ 


* 


X 


i        r 


~i — r 


SI 


ANDANTE. 


•ft 


s^^s 


a *- 


Legato. 


sa 


^-#--e 


it 


Ig-JLg 


i — i    r 


a^ 


zjze: 


i  x 


e^ 


i    x     , 
2     1     - 


r^Ftf^tf 


TT 

TT 


Legato. 


(4)  £1^  port  well 
the  lell  VUiid  on  the 
fourth     finger,   to      lesson  in 
prevent  skipping  in       Sl4l/RREI> 
executing  the  two 
notes  which  form     NOTES  POR 
the  Ktave.  the  left 

HAND. 


Andante. 


t#- 


rt 


~^&- 


i 


? 


*# 


#: 


ftF* 


3: 


T- r 


i 


i=± 


-rr-     — r 


X2 


i 


a 


1 


:i — r 


£ 


1213  X    3    X    3 


3 


i 


5=* 


SEE 


x 


3 


IX 

(2)     * 


i  x-: 

T 


85 


(1)       Change 
from  the  3d  hngfi 
to  the  2d  withe- 
taking      off      •)• 
thumb. 


(2)  Change 
from  the  1st  fingei 
to  the  thumb,  on 
the  same  key,witlt- 
out  quitting  it. 


Andante. 


2 3,  _Jt 

-?-?-t* — "^d — F~^  tF 

-~LrM — r — * — a t — - 

^  x  i 

^sga4 ., .  [f  rrj- -J  >  J  Hf^?1 

"*^^» — if*  x  «i — x 

4 


Tim 


:3i^~3 


liig^E^E*^^ 


-* — * — 


_3 m_m 


_____  3------- ! 

miiii 


i — i — I — I     I — r~\ r~ i     i — 1« 


gZiLH«-*Z3=g=*Zg=3Zj- 


g#f  •  r r ffj 

~r~\ — r_t  — i — \zTzP: 


3         *  x 


^    3 


-SZP: 


f rrr rrr r 

i — i — r  i       w--l — r 


-*#£*  f  ? , 


~~/Fv~r~  r  rrj      r  i    i    r 
"h — i — I — r — i — i r- 


czzzwz : 


3        4        3        2 

utJS. 

Ks-#— 3 


I — | — i — Fl-^T 


'VfrFF-T-f-  ERSE-* 


-X — 8- 


~\ — r 


#.sr 


"3 — ~i — r 
*     »-T3 


~i      r 
3T3-3: 


j i 


-x — «- 


=t — i  — j — f=^t 

~-i~3 — I — u 1 — 3 1 — J 


H 


"T"ri— 


3=#-3=^=Z:=«=3 


J I 


3=__-3 


zx: 


G 


26 


LESSON  XV. 


Lento. 


KEY  OF 


The  first  six 
■harps  are  placed 
on  F,  C,  G,  D,  A, 
and  E. 

rV#— w — it — 


Accent  particu 

laxly  all  the  crotch- 


(3) 


I? 


Double 
sharp. 


*-«- 
^»=" 


in 


*=£ 


-X- 


££* 


^f 


IT' 


T 


EEs-i-*>: 


pp^ips 


ifc 


Count  ei^Ai  quavers  in  a  measure. 


#" 


rrr 


ri— r- 


PT~TT~ 


^=^** 


-^iT-r- 


?=FF 


f  rrff  f  r  f  f  i  - 


~r~r-|~r 


I    I   '   '   ■ 


rr~r 


-ifjrA 


~r~x  r*'r»-rrn- 


£*;i 


^^ 


t..  S  frfff  k.* 


saE^sffi  Efe 


TTTT 


EfE^^E^ 


3 ~0 


ff__..rri — l   i   i   I r_    rr 


^p 


S»rf  fr>« 


"# — frr] — i r~ 


:-TTf?rf  fffr 


tciis: 


S 


BffiH 


^a 


"X 


s 


The  double  sharp 
raises  the  note  two 
semitones.  F  dou- 
ble sharp  is  the 
same  as  G  natural 
on  the  key-board. 


:xs: 


-He- 


>=*==-|g3-L      — 


1 


?-*-£* 


*& 


-^- 


Sharp. 


~i 1 1 — 

— t j [—- — • 

Natural.       Double  sharp. 
Somitone.  Semitone. 


EXERCISE 
ON  THE 
DOUBLE 

SHARP. 


-^m 


f^k=M 


E=EB32 


E^^i^^=^^=ES^=-E=-! x*? 


j X — « — »EP — en rrPgZm * 

ZZZ  E3 


D 


Andante 


<2). 


£ 


31. 


Forte.        Piano. 

When  two  notes 
are  slurred  togeth- 
er, '.he  first  should 
be  accented,  and 
the  second  unao 
ceckj-J. 


*? 


3 
X 

I 


I 
1 


Jr~ ^ m 


^ 


Pt 


'*=t 


^ 


IzzlzEi 


r&r 


-gy—g — i- 


M-L 


T- 


:sr 


:x^ 


«2. 


h1 


:£& 


£: 


¥ 


^p=^ 


1 — r 


5 


=^ 


-rC>*. 


3      2      12X1 


cz^-z^ 


-£=WX=£ 


~i — r 


i 


£ 


i — r~ 
in: 


2     13X21 


t: 


27 


'i-Pi^ 


i  tr- 


=^F 


*~<ir 


,n 


grSjji=E==Eg 


3P 


*•-,': -*^- 


fe 


3 


3z: 


SI 


:ns?: 


x^ 


S 


2«- 


X-sr 


:f=c 


xs>'- 


-p-f-p- 


~J~T 


^s 


z 


V3     • 


"T 


IX" 


Tn — r 


zczz 


*i#: 


:#=£ 


8 


II     I     I 


*=*=*: 


«=; 


=-'5±>  ■#  ft 


ZK2I 


^z|_*£d 


«=t 


3- 5 


X5?: 


is: 


TO" 


p 


nn 


~gy~ 


e 


ffl«L 


(1) 


1=3 


l^-M 


1®- 


4 


5ti 


~r 


(1)  Whep  » 
pause  is  placed 
over  a  note,  it 
may  be  prolong- 
ed at  pleasure ; 
but,  as  a  general 
principle,  the  note 
should  possess  at 
least  double  its  real 
value. 

The  same  rule 
should  be  observed 
when  a  pause  ii 
placed  over  a  rest. 


t*t* 


ft 


-#* 


i|ES: 


1X2132 


iczr 


55  *— r- 


:cx 


i 
n — 


1  I     133 


:x#: 


:3: 


-*P-  : 


3Z 


3=3 


:xs: 


#± 


is£ 


<2_    • 

S>— *■ 


i 


E 


3  g  g 


DZC 


A  Pause 

is  placed  either 
over  a  note  or  « 
rest 

EXAMPLE. 


28 


LESSON    XVI. 


The  first  seven  ,» 

■burps  are   placed    KKVOFcff. 
on  F,  C,  G,  D,  A, 
E,  snd  B, 


Lento. 


&£& 


^-~V  >   \» 


msm 


$j^ 


:t=^- 


:-5KfcE*2B 


*=*»"£ 


mm 


?E3=1Z 


35P 


3d 

-0 


3=g333 


3^g: 


fiMF 


S^fe^i 


t^^F 


« 


1 — 1 — : — r 


±— ff *k 


l*£ 


:jz* 


x  2   , 


** 


-8 


#? 


=M: 


Pifze 


1 — r 


^g 


t    r 


SSffl 


prfrrr-P-ft 


^*ip*p»p\r.ftftrff 


2  3_2_1_2_ 


rrrrrrrr 


m^*fr 


*=± 


i     i     '    1 — 1 — 1 — r— r~ 


rTTTTrr? 


¥=f=¥=f=f=f=^ 


t-l  ■  j — X- 


EH 


>=& 


E^F 


-#- 


y. . ,)_«_        ft_        g g). 


IE* 


*— x-^x-- 


^qctftttf 


gfifFgffgg 


jf^FSufy 


t — r 


T* 


"i — 1 — r 


(1)    The  7Wp- 
At   is  a   group  of 

notes,  indicated  by 

a  figure  3  placed 
over  or  under  the 
throe  notes. 

SXAMPLE. 


US 


EXERCISE 

IN 
TRIPLETS. 


ffe 


(i) 


# 


*=3* 


X 


"« 


O 


^B^fF=j 


ss 


1    r 


^~ 


rx 


31 


-F- 


3? 


xizzrifls: 


'*ri — tz 


™^£: 


g 


lzc 


^r     psr 


^x *  2 


w 


1 — r 


£ee%e 


EJ3f£iif 

f    1  X1 


-is      m    jg 
—a1 


(2)    #H 

Sign  or  mark  to 
contradict  the  dou- 
ble sharp,  and  re- 
store the  single 
sharp. 


*fe* 


£*=& 


-xfFrz=^F 


^ 


m& 


«fe 


«fc^ 


:& 


i 


r- 


W 


£ 


£ 


** 


=E 


*»- 


;r- 


rr 


E 


"S^i 


ngize: 


* 


3*2: 


x 


X 


5fl 


?£ 


1 — £ 


See 


W1 


Ik 


H3CC 


3E 

*RF 


**?S 


5E 


3=f 


ff 


*?x- 


isfe. 


•S3EEE25 


*£ 


£. 


W^ 


Wim-Sk 


*£*£=%& 


w^ 


i^ 


•3-g  a         fr»— 


£ 


P 


x 

sipis: 


-*p- 


PP r~ — i*_iz  _  r     k  —i — zpzzz  — r-rr  _      r — f 


XX  X 


as 


:<=>: 


4  14 


3X3 


4  14  3X3 


29 


Exercise 

ON    TUB 
TRIPLET. 


Lento. 


_L 


lEczEEEEE 


^EEE& 


2 

m 


"i — r 


"i     r 


£ 


-yf-f- 


:rzLzn 


£ 


^a 


_4 5 


a: 


g 


j 

EZHS 


l  x 


'ST 

T    ' 


g 


-X- 


S 


-«-       *       3 


•|         i     rrr 


~2T2 


:e=?-r 


T~i — r 


"I — r 


212 


(1)  The  trip- 
let  in  quavers  is 
equal  in  value  to 
a  crotchet,  or 
two  quavers. 


l—X 


mjm 


mm 


\ 


£jn 8 q i__x g u_| r 


3       T 

-m — Si 


:xr: 


^ 


^  j: 


:F=fl=P=F 


JL 


l  I 


=f= 


-XfS>- 


W&31. 


i — r 


i 


i 


,#^__2     3 


^ZZj'ff-rzrzpip— 


£  * — j*- 


2  i  x  1 
0JL0^0 


-\ — r 
-r—i—i—r 


T 


iCiSE 


£ 


S 


1 


±fil 


IS 


X|    3     2        1 

PUS 


•    P    • 


i     r 


"i — i — r 


32=111 


w 


_ r 


-X 


2_JL 


3ZJ 


3^ 


V2~ 


St- 


ziiJ 


-^* — W*0 


3C 


m 1- 


-sT 


=»=*- 


"i — r 


fTff 

i r— i — 


-*-r 


I 


_r_ 


:   Jl     2 


Bg^Pf^p 


:*# 


3 


IB       P 


a  i  ai 


P* 


-ffi=fc 


=F 


^ 


=^ 


^L_C 


^r 


"i    r 


x: 


a  X  3 

3t 


-»- 


J=i-Fg- 


i     .i 


3=_r: 


-s>- 


,SSE^ 


©*£* 


M 


*Jt 


;g~~T 


x 


2         X 

H 


Pfe 


-^ 


~SL 


221 


_X_4_ 


S 


— r-tJ v    »~ 


,J^ 


sc 


4* 


_X_4- 


=-W-v- 


& 


22 


ix: 


:<3~ 


B 


i^s- 


^: 


xxr 


izriasii: 


Ezezr; 


^s>- 


iS 


3s: 


(2)  Ten.;  ab- 
breviation of  the 
Italian  word  Te- 
nuto,  implying 
that  the  note 
should  be  sus- 
tained its  full 
time. 


(2) 


TEN. 


30 


INTRODUCTION 

TO     THE 

STUDY    OF    THE    SCALES. 


The  art  of  play- 
ing the  Piano  well, 
depends  almost  en- 
tirely on  being  per- 
fect in  the  execu- 
tion of  the  Scales. 


The  practice  of 
the  scales  is  of  the 
utmost  importance 
to  the  pupil  who 
wishes  to  acquire 
good  execution. 
He  should  make 
them  his  constant 
study. 

Carefully  avoid 
any  movement  of 
the  body  or  arms, 
and  also  any  mo- 
tion of  the  fore- 
arm while  you  pass 
the  third  finger 
over  the  thumb. 


EXERCISE 
FOR  PASSING 

THE  THUMB  I 
TJNDEK     THE  ' 
SECOND    FIN- 
GER,    WITH/ 

OUT  ALTER- 
ING THE 
POSITION    OF\ 

THE   HAND. 


EXERCISE 
FOR  PASSING 
THE  THIRD 

FINGER 

OVER  THE 

THUMB. 


Lento. 


=3=3 
x 


x      x      x      x 


■^n 


X*~ 


m 


lESEg^teggg^S^^BSg 


iSE 


Ending 


r  "x — ~r~*~x: 

Hold  the  semibreve  with  the  second  finger  to  the  end  of  the  exercite. 


»Pj]AflABAfl:flJ3Aj]teB 


czx 


:a: 


ua: 


r  n  n  n 


g 


zxzzs 


_«_#. 


1£ 


n        n  n 

a. 


3 


:ir 


:s: 


H.ii.n  -n 


.«_* 


n  J3.  nil 


I2SZL 


These  exercises 
will  be  particu- 
larly advantageous 
when  practised 
slowly  and  dis- 
tinctly. 


CONTINUA- 
TION  OF 

THE    SAME 
EXERCISES. 


J I 


SsSsg 


3 


m 

4 
1 


rq — nm-  - 

4 


1     ITT 


•shh  i  i-+B3= 


T 


^SEEEE 


333333  3'3-HHBEF* 


:F 


3333 


mm 


SE: 


E^ 


^lii  11-44- 


:f 


;-X 


Sf  *  f 


Tf -— W tj ot —  W  —  tt ™ W 


• J— -*--f 


^ 


¥ 


-0—0- 


'-¥ 


_  n  _  n 


0 — 0- 


—s> — 


— x— £ — •-— 5- 


n 


0 1 0-t— I — -)—•—• 4—0—0 

# — I — 0— \-  -0-  -m—k 0—0 


i 

3 


*eS 


n 


nil  rj=*=ti 

m — « — « — « 1 


■# — 0 


-0 — 0- 


-&- 


EXEKCISK 

FOR  PASSING 

THE  THIRD 

FINGER  OVER 

I-HK  FOURTH, 

AMD  THE 
FOURTH    FIN- 
GER UNDER 
THE  THIRD. 


31 


jttijtti  jthjjx 


=cxzb±=tn=m 


^wg 


— i — i — i — i   I   i   I   n 


i   i   ii — 1 '  i   l 


34343434         34343434 


3    4    3    4 


3    4    3    4 


34343434 


-A 


j 


^ife 


1 


0) 


?f#?-= 


t — r 


E 


§E*EiE?E£ 


~1 


jrl-f  fyf  ■■ 


3=1 


f 


T" 


F- 


1 


»*F  F  p  P  F  P 

r     I      i      r tZ 


-r — f    '"('" 


1 


3 


i^fi^- 


^ 


^^^4 


T 

3 


(1)  Sextelet , a 
group  of  six  notes. 

Accent  the  note* 
in  couples. 

AAA 


£feP 


Q^E 


^^ 


1111 
3.333 


— 1~ 


i 1 r 


3      LjtJt-JlJt 


i* 


EH 


F=£ 


r-    i  ■  — i r 


l r 


-fr 


•i      I      I  — r 


--■#•- 


JO 


-i r 


T~ 


'i r 


#8z 


r.*r*& 


^ieHS 


1 — r 


i      r 


i — r 


ri£Z. 


tztz' 


I* 


JfrfrTf 


5 


i — r 


i 


The  sextelet  it 
indicated  hy  a  fig- 
ure  6  placed  ovei 
or  under  the  six 
notes  which  com* 
pose  it. 


"i     :     t 


se^ 


1 


3 


9  ? 


r-fv — ixixi  x-i-x 


e=r=F=r=^s=^E 


n — r 


:F 


i    r 


3XlX3X3X 

£ Ilbllll====:  — i 


i:e=P:: 


32 


RECAPITULATION 


Signs  used  in  tne 
Recapitulation. 

C  Common  Time. 

f   Crotchet  Rest. 
-■-  Minim  Rest 
O  Semibreve. 

Gr    Minim. 

0  Crotchet. 
($:  F  Clef. 

joe* 

#  Sharp. 
fc|  Natural. 

Slurs  ;"">  or  Ties. 


OF  THE 


PRECEDING    SIXTEEN    LESSONS 

-X_^ a . 1 K 


0      0    0 
—       J      » 


Notes  slurred  and 
•taccato  alternate- 


Tenuto. 


Several  notes  can 
be  made  with  the 
thumb,  while  the 
hand  is  supported 
by  the  fourth  fin- 
ger. 

"*"■ "^Legato. 


•*  Quaver  Rest. 


ANDANTE. 


Lizzie: 


Count  four  in  a 


ifc 


measure. 


I 


3 


25: 


^ 


^ 


-;i- 


^-: 


£== 


s 


3 


-r — 


:«3: 


T 


..22: 


E=^z±=== 


:^=S 


@: 


W^2 


22E 


^s? 


23.(5^5       .§: 


^ 


^ 


i        r 


I  f 


E 


f 


Si 


Gp--Gpr-2-- 


J_1_J L 


•      t 


O    i 


EE2EB 


1 


£: 


22®: 


^ 


i 


r 


1" 


rfzz-^: 


:£: 


^ 


2=F=0=X 


-eg" 


:rzat: 


i    i    i 
i 


«2- 


22: 


SB 


'( — r 


:s: 


i    i    i 

i 


^2= 


221 


-rtfc 


:r=?5 


-h 


^ 


4    14 
4 


-mFFF 


^ 


i     i    i 


jea. 


•»••    Demi- 
'    Staccato. 


4    X 


4    X 


X   4 


X    4 


S 


3E 


'I 


£EE 


3 


¥- 


Ff^=P 

t— I — ^j~ 


CP 


£ 


i 


3fe 


azxzfcsrn 


'* 


1^ 


E 


3 


T 


"X- 

3 


~X~ 
1 


3    X 


A    »     » 


mt& 


3:< 


^4_ 


XG>- 

1  -&- 


_3_2_i_x_#_ 


1TWW 


„  ,   y  m  3  2   1  x_< 


3=f=^E=zfL 


1 — i — r 


:szr 


±zt£:£ 


k£: 


:i — czx 


"i    i    r 


:g] 


8    1    X 


TPrrnr 


"i    r    r 


r 


7~ 


Changing  fin- 
gers on  the  sama 
key. 


a  i  x 


m 


JZZ 


:E 


2    1    X 


^35 


sg^ft 


«E 


5^ 


£- 


zzszizxrrziz: 

r h* 


~i — r 


<S3 


cis?- 


A 


1   x  0 


\0Z0Z9zrr 


"i — r 


T  i»IM 


£ 


TTT 


_X_JLX_pL 


?=F=F 


-<©- 


Syncopated  Noiei 

0    # 


f 


XJX 


=ft^ 


rn 


^2: 


ei 


-2_1_X   • 


ffi 


4 


"ri"r 


-»-  -ar 


2  1X1    I 


xrx 


-«2- 


1221 


x<s>- 

l-<5>- 


r 


"X" 


T4  .■ 


:f=^:=p: 


IX 


4 


Dotted  Note*. 

0-0    0'0 


Dot. 


Double  Dot 
•  •  • 


Tie  over  two 
notes  on  the  same 
degree. 


Change  fingera 
on  the  same  nota 
without  quitting 
the  key 


34 


Triplet!. 


dT 


?   > 


gpIS 


gj=p^ 


E 


:ffe 


-<s>- 


*S: 


H  ^~r~r"^  j  y;     J      ^~^     r~ — rip — tZI 


2»_ 


3"E 


2:^- 


33E 


x 


it 


-F- 


lign  ef  Abbrevi- 
ation. 


3          ^— 
! 4 


* 


£ 


r 


m 


fis 


11 


-r 


f-££ 


£» 


£ 


rr~r 


1. 


*3 


x  1 


:@ 


steSs:EtK£ 


C£J b  L 


E 


f 


'ml 


?; 


£* 


C 


:^= 


X    l    4 


SI 


Piu  Lento  ;  a 
little  slower. 


The  pause  ^ 
(or  organ  point) 
ir  double  the  val- 
ue of  the  semi- 
breve. 


Allegretto. 


!*■  >    1       3    2^4 


x     1 


I)ott»d  Notss. 


e; 


is: 


— 


x 


sr\ 


1 


-<s>- 


Dotted  Notes  and  Triplets  alternately. 


J3- 


5 


^ 


-s>- 

-<s>- 


Exercise  upon 
rhythm  frequent- 
ly used,  princi- 
pally with  re- 
gard to  the  dot, 
the  tie,  and  syn- 
copation. 


Count  eight  in 
a  measure. 


COUNT     i       3848678 


COUNT    1  a 


RffPTO 


-& 


f: 


~<sr 


^EJ 


^^^ 


x— *~x~ 

Dotted  Notes  and  Semiquaver*  alternately. 


L 


TJ5L 


s 


P* 


W- 


s 


IJIZCJ 


==s 


*-x- 


31 


i 


3=-f 


^Siiii 


2: 


x — *~x — *^ 

DottedNotea  for  th 


for  the  right  hand. 


TT 
T" 


3* 


~ rr— 


iP! 


:c: 


-<s>- 
-<s>- 


Count. 


3       4 


fi       6 


Syncopation  for  the  left  hand. 


12      3      4    5      6 

Count 


35 


(i) 

A 


This  sign  sig- 
nifies  that  the  note, 
over  which  it  is 
placed,  should  be 
accented  strongly 


13  2  4  2  3  X 

IX 

Tj 1' — 1 — 


(2) 


This  sign  ip]'- 
cates  that  the  first 
note  should  be 
strongly  accented,, 
diminishing  on  the 
note  or  notes  which 
follow. 


1    2 


3    X 


_2L 


*      1 


-\~ 


T~ 


-m-     -r- 


r" 


£ 


r 


£ 


T=j: 


BE 


i    i 


X    3 


V   \4i 


:=^z^ 


• 


T~~ 


(3)  .j. 


n — i — r 


~r 


2 


1 


T" 


)  lx     ..= 


! 


an 


iU 


^ 


-0-     # 


3E 


at 


^-5= 


— r 


-e-r-j^ 


Scafedz^ 


¥-i 


-•-    -#- 


•       #, 


A.    .».     .fL 
-»-    -»-    -b- 


(3) 

When  two  notes 
are  slurr'd  the  first 
should   be   accen- 
ted, the  second  un 
accented. 


V 


* 


V 


r^  i — i — i*-' — r^-p-i — i      i    i — r 


-3— 

3?: 


[Mr  IV  ST. 


36 


No    1. 


MELODY    FOR    FOUR     HANDS 


Count  four  crotchets  in  a  measure. 
___X 3 K. 


s-e- 


-•tiaro.   1 


HKCOXDO. 


( 


pp  Andante 

■6 — F-r: 


m 


-!- 


m 


i i    i 


=E 


— r 


£ 


-i — 


_SZZ3?I 


^ 


_JB_-^— b=g: 


-s>- 


5St 


B 


T" 


*z=5: 


:xl 


^h- 


h^EjsE 


^ 


~r 


:tjs: 


3E 


31 


EE 


j9/>  Andante. 


3z: 


M a— 


JSEL 


e- 


ISZZSI 


t9" 

is: 


i 

1ST 


f:1~ 


fc=±= 


:SZ 


~£3 


=1 


s-rg=^:r 


isF'dz 


rsEEzE 


x 
22: 


^^ 


^ 


:P? 


"i    r 


£ 


is: 


isi 


3 


3 


==c3:3! 


4 


-<S>-    -S-- 


^_3_ 

■I    Ol 


~~r 


-js- 


TE 


I         1 

5 — i r 


^  = 


_SI 


T 


F^#^ 

~X 2~~ 

. 


^c= 


cixi 


ezr^'^T' 


"r 


-&- 


'■&— 


izcii: 


^F= 


•<9- 


^a. 


S-L:^=i:  :±zi—  l^l  I—  -^-4- 


g 


"i — r 


■"i — T 


->V 


IS 


USUI 


X 


— s>- 


\2L~-X. 


P 
IXZ 


— 1 — w 


#W- 


rg*-^- 


=SE 


~i — 1 


*i 


x 


:ix: 


i»  « 


ixz 
is-4- 


si 


gas 


f  m 


1 — r 


-Xu 


^f-T 


:sr-#^ 


■sr-J© 


:E=F 


ITS?! 

~3~ 


isczg::^-, 


T 


rjizix 


:  ~zq — 3 


isi 


IX__: 


:£=* 


IS 


SI 


X 


. 


i»-  -fs- 


ix: 


~__|3 

~ : x 


USSI 


=fcpa: 


EE 


fe 


r-ft- 


9-9- 


=3=^ 


n 


:#' 


#3 


*t 


_4_ 


ipz: 


zsz: 


4_ 


F=^=F 


^E; 


T" 


-2=r o 


— 1 r 


"Or 


^    _s. 


3Z 


-a- 


iii 


^^ 


^zi: 


=^: 


-&—&T 


3ZZZH 


15" 


~x: 


■p- 


X 


zsr_ 


_2X_ 


:sr 


■#- 


EE 


Note. — When  possible,  let  these  little  Melodies  be  played  by  two  pupils,  (counting  the  time  aloud.) 


^5 


■T-~fs-'ri 


:az::zr 


:^i; 


:«si=^rc^ 


F 


3zzx; 


-sr 


No.  2. 

Andante.   $$ 


PRIMO.     1 


MELODY  FOR  FOUR  HANDS. 

3 


SECOKDO. 


3     1 


t+*     ' 


2        1 


Srtrr 


:pzz#~z#" 


-| 1 — zt — i — 


#-*-^ 
M 


^^ 


i 1 r 


=s=s 


t=zm—9i 


T. — r 


1 1— - : 


2 


>  •  i  — 


•»  '"if    '*     P; 


rfEF 


/ 


1       X 


-#— £ 


irzzrzzi r 

r     r      i r 


^=3:^=-S: 


rzrzi! r 

T^     i 1 r 


=s 


3fpt 


-#•- 


:r= 


t# 


..#. 


r£ 


ffTTz:  I      i  — r~ 


to 


ezzz  znzzztz  — r— — zrzznr 


n~#" 


r 


/ 


5? — T" 


-ZZZr 

n r 


2  X 


i r 


±3 


S3 


{ 


f# 


-*- 


**tf^f 


~i — i — 


r*  d — i-  -i — 1~ 


:c — r      z± 


■-C 


"I r~ 


3=i   J  -  JL 


1*31 

tz r  r^ 

■~L=-=L^£ZJ=: 


4        2 


tzzxzzz zzi: 


i 1 1 ^ 

r     I — rzzr 


i     I 


■0 — 0 


=i=i  =? 


j£Zl»—P- 


:r_r_r 


ze"a 


^ 


-i— 0— m— *- 


nzzzwi 


:i — i — i 


■| — ~i — r 


=,  j== 


S=S 


-ft- 


,»'     " 


*5p 


4 


-#sP 


3~H— 1=  HHHH-|-4-|-n^ 

n — r     — i     J~j — i — n — i — j—n — j~ 


:#1ft 


:d~J= 


rr* 


3^± 


iJ 


33 


:<?=?: 


rr-j~y 


=S: 


:?z^: 


:=^ 


#ir 


i — 


:ziz:zz 


s-=s 


* 


-w- 


-Gt- 


{ 


2 


:«it: 


T-f- 


~i r 


*-# 


/ 


**$=*= 


§ 


lfc*c 


zrzzr 


l 


D       r 


x      i 


T 


HfT^T""tf-: 


X 


^a^t 


r 


i — hz 


:*— x: 


::rz=fzz*z##: 


8  D.  C. 


*=5E 


5 


LESSON   XVII. 


THE   SCALE. 

_  SCAMS  OF 

I  he  scale  is  composed 

of  five  tones  and  two    c  MAJOR- 

semitones. 

Scale  in  C  Natural. 


i 


-iZZMI 


**— '    Tone.  Semi- 
Tone,  tune. 


ZZZ^ZZBl 


Tone.    Tone.  Tone.  Semi- 


SCALE  IN 
TENTHS. 


1 


.Zfgliz±±ZZl 


^^ 


r 


JCEI 


^ 


i^P 


P=^g 


T"i    r 


■4— ft 


5 


cg^F 


fe 


CT  f  r>  >: 


s^ 


fcft 


3§gg£§ 


ESEfctES 


2 


I — r 


m^m 


r~i — r 


'i — r~T~  r-p  >~^rl — * — ^rm~F'T- 


rffff£g? 


i r~9—m-~  — IT 


— <s>- 


P    #  ,  x 


i    i    r 


f-Pi 


Major  Mode. 

The  first  note  in  the 
scale  is  called  the 
tonic  ; 

The  second,  super- 
tonic  —  second  ; 

The  third,  mediant 

—  third; 

The  fourth,  suhdom- 
inant — fourth ; 

The  fifth,  dominant 

—  fifth. 

The  sixth,  submedi- 
ant  or  superdominant 

—  sixth. 

The  seventh  is  call- 
ed the  leading  note  — 
Beventh. 

The  seventh  degree 
is  always  found  a  semi- 
tone from  the  key  note 
or  tonic. 


r~r 


|p"i  .i*i  ni* 

3 

p.f-f 

i 1      i — 


X 

2 


EXERCISE 

ON  THE 

SCALE. 

KIT  OF  C. 


— i — g — 


& 


J=m-j- 


£*£ 


r-r»  -  *  i_ 
SSduir^r-P" 


c: 


33 


J    Je*» 
-#-    #      x 


si 


3 
P^ 


c: 


^g 


2ese 


ti*. 


:S 


ss 


2a: 


nrx: 


"£** 

■*H7 


"IT 


H5B? 


%=j* 


=B^ 


u 


■Tin — si- 
P#n 

,x       3 


3<=3 

1 


•*x 


Ffi* 


~'r\ 


SS^fe 


&P1 


S 


LGTJ— .SLH 


Sjfel 


XI 


Key  of  Cb. 


The  leading  note  in 
the  key  of  C  is  B  nat- 
ural. 

Hill 


Leading  Note.    Tonic. 


Key  of  E.#### 


rfxt 


J       ±sp:f  ~x 


#^#x 

X 


'•<3- — »T-p-f 


2 
•P 


i»# — V 

rrr.  ~*#jt 
-rrn — z  *«~ 


m  r  »i — 


TfflJ 


:z=rr11rn-iP- 
-»P_rnJ — 


:za: 


irscz: 


en 


I   M~l IST" — 


^55F 


3"3. 


tttV  #  * 


TT~n — i 


53E 


3fl 


X 


l^t 


tm_— ■ 


pS 


t=mft 


*P 


The  leading  note  to 
EisD#. 


-*»- 


Leading  Note.      Tonic. 


7  iT-H — rrn 


MM        Mil 


III     III 


'x~ 


/gy        !~i~i~i — nrt 


SSzBxr- 


'7 


EXERCISE 

ON 
RHYTHM. 


Allegro 


EXERCISE  INTRODUCING  THE  SKHHICAV1CK  REIT. 


Count  eight  quavers  in  a  measure. 


39 


Major  Mod  p. 


The  major  mode  is  that 
in  which  the  third  note  of 
the  scale  forms  a  major 
third  with  the  tonic. 


I  Tone.  1  Tone. 

a — a- 


Major  Third. 


£*W-r- 


ft-i 


^5 


_g 


sg-zzzzfa.g 


T 

3 


P2I 


i3E|K5=: 


SESii? 


*& 


:£^ 


22: 


T 


3ZX 


5^* 


3-/r-cB=*-£ 


9 


T9"' 


T 

3 


3: 


The  semiquaver  rest  is 
equal  in  value  to  the  note. 

(1) 
Semiquaver  Rett. 

=1 

Semiquaver 

C 


E9t«H'?:3t«tfe3cd 


S^5 


1  ^    2J 


21 


;e 


4* 


^F 


3 


is: 


2    4 
X    3  ^      !     . 


X    2 


2    4 


4    2 


I      ■ 


I  4  2, 

!      '     2    X  ,  — >  f    '     2  X        , 

—t—j    f-\ — i —  j— r-r— i — n  ttt 


Lento. 


A  semibreve  is  equal  to 
sixteen  semiquavers. 

Semibreve. 

o 

E9  0000  0000  0000 
I 

Semiquaver.. 


(2) 

Flat, 
b 

A  flat  placed  before  » 
note  lowers  it  one  semi- 
tone. 


£  natural. 


*P 


=» 


E  flat. 


r- 


E  flat  is  the  same  as  D 
sharp  on  the  key-board. 

E  flat. 


D  iharp. 


sm 


7  /' 


40 


Practise  this 
study  slowly, 
and  in  the  legato 
style,  giving  a 
slight  accent  to 
the  notes  form- 
ing the  melody, 
which  are  mark- 
©i  by  this  sign : 


STUDY  I. 


Andante. 

x I 


i 

US 


X      4      1 


+& 


p  o- 


1SL 


T=M- 


3 


r 


22" 


t      T      T    "' 


E£2I 


-ap- 


FFT? 


? 


X    4X4    X    £!><■ 

— "-M~!~t+j" 

■2^  -#-    r     i 


X    4    X   4 


l r* — v~a — 1-»- 


FFF? 


TX" 


-L-i 


i     3 


X    4    1    4 


§^ 


SeWeS 


X    4    1    4    X    4    1    4 


E^E^E^ 


X    4     1     4.X    4  .1,_3_. 


41 


LESSON   XVIII. 


OF  G. 


j»ff*i  n  J7~j~r 

;^fcj— 3-3— *— — a 


f  f>> 


TOq? 


-«  ~  L 


tS~T2Z=:* 


— P — 1 r~  -■ 1 1— 


E 


m^. 


m 


i      i 


3E5E? 


333  EE 


IS 


£ 


_r r 


E|EPE?3: 


"I 


"i — r- 


Zt-ZIZIIEZ^ 


:?=i*z:*rzrz:z:z_ 


y. 


;a=BES 


^=J=±zH 


inzx: 


)  ^ — 2 e — 


1       r 0     m ± 

r — r — 1 1 f     9  . 


1     l     IW  ^   C^ 

] 1 r — r     * — m      Z3 


1      r 


( 


t#-— , — 1*-*— #2 


1  1  1 


:jac 


W 


rrrfri 


rrn — 
— m 


RSyf  r  1-1  i  - 

r  rj" — rrr 


3  2  3 


nsg 


"5?~ 


r 


r  1  t  1 


F 


£ 


3hf 


m  0    -Ft  F  0  m 
yrr 


rii   i    r 


T 


1-  I    I 


-Ft-F-0—^ 

1 .      — *jta~ 
:rrT-rzxz:fj 


I_2T 


'^F 


»#j 


fc-rfc} 


SB 


-Hji-tW 


Wg-mr 


fB+B  'Pri 


T'rrr 


SB 


S&S 


taEgSS 

r rrr  ^Xj 


^ 


*:?;i 


±tt~t-  r~:rr:F-_0- 


r.r  1 


X     i#  *^0^ 

m*  F  tJTC  r"»" 
"r  ri-  r-rr  .1 


-fT-f^b-jt- x- 


'  rrr 


-t-»-FT-Fl* 


TTTl — rtTT 


^2 


X 


«ss 


m — n 


"t — 1 — 1 — rr 


E 


-- — <g>- 


•J'  it  J 


3  a  3 


-©- 


4  ■  4 


i 


EtEfE 


3*3*3 


3*3 


F  r  rj — r— rr 


-* 


1X1  x 

Cm*~mBZ.'^B-m  , 

t?T-prz?T£-s 


rT  M — rrrn r"r-r-r-F-#-* — 

1— f— r— 1    rm —  ~r~r~r'l — rrri' 


:tTT1: 


4*^  J  i€J.jr  itfadzuaj: 


42 


V 

(1)  Abbreviation  of    exercise 
tiano,  (soft.)  in 

DOTTED 
NOTES. 
/ 


(2)  Abbreviation  of 
te,  (loud.) 


Ul 


This  sign  indicates 
a  gradual  diminution 
of  tone,  commencing 
with  forte,  and  ending 
piano,  at  the  termina- 
tion of  the  angle. 


w 


'Id  flFr 


w. 


(2)/ 


3F? 


SH- 


*& 


£ 


3E 


n  • 


f- 


mi 


The  same  sign,  re- 
versed, signifies  a  gra- 
dual increase  of  tone 
from  piano   Xo  forte. 


(5)  This  sign  sig-  qmTTTjY  TT 
nines  the  union  of  the  M  UJJi  "• 
two  effects : — 

Crescendo.  Diminuendo. 


Andante. 


^zrzrwTf^l 


4 
-2 -jt 


'ill 


5^ 


£ 


fe^SS 


T~r 


£2= 


fct 


^g^BS 


^f 


-i 


Ml 


^3: 


■rS- 


:^2: 


r 


(6)  This  sign,  placed 
over  or  under  a  note, 
signifies  that  it  should 
be  struck  with  sudden 
force. 


-rg— 68*- 


SE 


s^z 


:b?s:: 


LESSON    XIX 


43 


PSi 


I_2_l_:t 


»-trzf 


^ 

£-"£ 


S 


2 


f: 


g3 


•f^p 


£ 


»1E^E^ 


5¥S 


S£ 


PS 


ic 


s 


i — © — -5^ — .  *  j 

^z^5EpgSE 


zzzzdi=zaz«:*;_: 


frn.  ITn 


2  1 


M-55 


c*:^»: 


T" 


L   I  1  rfjL- 

^  j^    r  r  r  m 
:  :3~2'3'yrrT~r~f 


=£. 


frsy^i 


-*J^XJL 


i?£z±±±H-f-H 


-a^a^--& 


'.pfmf  mf~mf- 


ZI 

9* 


iw  4  3  4  ft 


as=E£ 


H^zF^^lrH 


3=fj| 


4„-' 


Itf^r- 


"3 


1  2 


gaas 


"^n — ^^^ 

rrT-"! — H   1  1 


T 


r 


yj~i — rJCXx 
31  *     2  1 


X  X 

— *--•   -3   ,-m  2 -a- 

•  rn — PT~r  r~ 

rri~n    nrr 


-<S>- 


44 


EXERCISE   IN    CHORDS. 


Andante. 


2 

_X_ 


.o:v 


~r 


£#-a 


t3 


-*T® 


l|<g 


3 
-X_ 


-S 


"on 


-4 


S>- 


A 


-#^0-T- 


"g1^ 


te 


»- 


2 
X 


IZ3£ 


©- 


4 

-4" 


F3^ 


-2  -: 


4 

-4 


-Sh 


1 


4 

-4- 


^ 


*± 


2 


~W$- 


X 


c: 


P 


2 

X 


-<^- 


x  " 
sfc: 


-Hi 


_j:2P: 


X 


(1)  Exercise 
irith  the  melody 
for  the  third  and 
fourth  fingers, 
and  an  accom- 
paniment for 
the  other  fin 
gers. 


(2)  Accent 
«he  notes  of  the 
melody,  giving 
them  their  full 
value,  taking 
care  that  the 
accompaniment 
does  not  pre- 
dominate. 


MELODY. 
3 4 


STUM  III. 


■!*Txr8fVxr*  :Ir_x. 


XT  '0JL.X.' 


S3 


ijis: 


IT 


U 


M 


S3T* 


I  i*  ' 

SJ 


kf 


3 


» 


^3: 


:-4- 


:zri 


TC: 


zxr=nrx_ i 


LJT 


is— 

i  "• 


~—ZJzizrz 


^F 


h*-*- 


3 


f  S  'I    -*-•'     -£-'1     f 


T 


SJ      SJ      Nl 


£=3=? 


— *- 


:x: 


=fc 


tj5 


2. 


S 


? 


j§£ 


T 


T 


^feip 


tr~t? 


El 


X 


5= 


iz^-J.i..:.  J  £ 


WWW^r 


X 


45 


* *, ^ *r 


__| ##— Jr 


-3z^z^£-^^z=— J? 


-*tP- 


urn 


fcj  IS  1svi    'kj 


£ 


-2 


3 


5+ 


■  r 


k'-'kr  'kj 


f-i!  f- 


fc 


t#— ^ 


i 


p=*^ 


;g=3 


T^ 


i  1*T^r  1*  t1 


#*-+- 


:?zs: 


L/ 


•J 


r^zs: 


-thttQ 


:i=^i=j 

^Cj 


3 


lx_ 


£ 


-*i(^ 


321 


i 


:xz 


** 


j~" 


SCALE 
IN    A. 


LESSON    XX. 


ijfcr 


F^ 


B 


*  *  p  r 


*.+-*- 


^=a 


"I r~  :~ 


^i^^gz^E^gJi 


x.  z$        Y  ^  3 

-# — Pzzr        — ' — rr=" 1 ■^az — i 1 r  ~P 


f— f-l-f— I — r 


i — i — n 


S 


IB 


■^ 


tfc* 


K!=zfc: 


P^ 


r^ 


3CC3 


#-^ 


ea 


„"  r»   ^    n 


tnzdzzszff; 


*P 


'v—r 


m 


•| — i — r 


-r-r-r 


"i — r 


2     -  X 

»   P  *   m 


3 — i — r  . 

'i — i — i — r~ 


i i — r^F- 


rrrzgz~ 


^fciECfci^ 


Ftzrzx 


S3EE 


F?" 


nzzzi — r 


1   x 

■m~P~r 


3 — L_t 


*EI 


FP 


x  m  -P- 


i     r 
5T 


t*^^— T_ 


^====n=i=w 


JE^zEE 


:?z#: 

3: 


£i£ 


± J .-. 3 


fc*  r  rr  r  r.gEgjjEj^jggy^ 


ICZTZI 


£ 


•n~a — r 


<PJ=JP^¥ 


I i    i  ,r~      ~~r 


S^3 


zzg^zJE^gz^E 


f-p-9-P 


?&¥=+■ 


3 — i    ii    r 


■| — i    r 


i — i — i — i 


:x: 


3  -Q> 


T~i    rn    i — i    I    i 


a^zzT© 


urzzzr 


T 


BE 


d  0 


46 


Andante. 


EXERCISE 
INTRODU- 
CING 
THIS  SIGN, 


(1)  Exercise 
in  staccato  notes 
for  both  hands. 

(2)  When 
this  sign  A  is 
placed  over  or 
under  a  note,  it  STUDY  IV. « 
signifies  that  it 
should  be  struck 
forcibly.without 
moving  the  arm. 


Andante  quasi  Allegretto. 
-  # 


-■*£& 


0) 


%^g&¥E£ 


t  f  f  f 


:szizxr 


^V-f-r- 


i± 


TEN. 


$ 


m 


12    3    1 


f     » 


m 


ffl 


=t 


I      I      J      I     TEW. 


31 


(2) 


1      |      |      i     TEW 


4  2 


TEN. 


47 


$* 


M »— L-J L 


p^m^ 


M: 


1 


5fc 


8u'       I 


T    r 


^ 


tw=a£ 


X 

~ter 

— "^a 


I 


J_1_L__I_ 


J^il^S: 


f 


-***=* 


3se 


5^ 


HE 


P 


a  3 


1       I       T 

3  J     i 


j» 


£ 


m 


BC 


( 


-#- 


:»: 


TEH. 
X    3 

-fit: 


TEN. 

4 


"9 — HI — *1     I 


^ 


j     v 


r«= 


y?  r  *  r 


X 


:»~T 


gins 


-#■ 


f 


I 


f: 


j       J 


ucia: 


JL_1 


*-£: 


h#— i *- 


"*, 


X 

-#- 


1 


S^ 


i  ' 


i  i 


Lj     f    I      * 


c£: 


t 


12       3       1 


ft  ,1 


fe£ 


S  ,  i  * 


a 


4 


f=ff=F^ 


FES 


S£S 


tS1- 


FB 


r 


i   j   i   i 


4    2,1 


■J—  L    « 


QiSC 


£ 


S 


S: 


t# 


ft       f    ?    f     I    Y    t 


ss 


i  g 


±_U 


1    T    A 


y  1 1 


£ 


J*1 


i  I  i 


£ 


«i" 


g 


t: 


?£EE 


iM 


Jgg=^E 


i — ^~r 


PFP 


£: 


JS-: 


£ 


~i — i — r 


-pT" 


i    r 


l 


:a: 


=T 


:r-t^z 


"i — r 


48 


LESSON   XXI. 


*£f 


r#-* — a,   B  

ftftfl ']'■]•  J  pTTt 

I m — J — *— * — r — ! r— r 


sliPPI 


i       r     0     „ I  _^>  is, 


m^M 


&m£g 


.  *  t 


A* 


*£:** 


f_:r;  •  .,.  x 


5E 


«zt 


-c-r-f 


m=E 


r 


:cnD 


1  0  *  x     3 


iz* 


'r-r-p-*r 


it^rzrz 


i — r 


m-    X 

r  f  ji 


TI T 


8    »    * 

1*  r  r      VStr"^  - 


^~»~ff~rj^rj— I— r~P--jr 


"i — 


^523 


'I — I — 3" 


S 


!&* 


fflSI 


» 


i=* 


^Efe 


■WALTZ 
MOVEMENT. 


49 


STUDY  V. 

FOR  CROSSING 
THE  HANDS. 


Mfc* 


Allegretto, 


*    ~£~a~T~j — i — ! — 5 — H — ex 

J-     z     4 


a 


•fre- 


:1 


-fzzz±z±\ 


~#~3~    ■ 


sm^mi^m 


T~, 


m 


3 


(i) 


c^: 


-J-3         *  -^3         * 


=3PCiP 


^A" 


£5 


xzzz: 


*G 


id: 


m 


m 


w 


& 


nx 


J L 


^ 


£ 


Z~r 


igzn'ihtr^iH'nzT 


X 


r§fj^-F|?-^-F 


(1)  Play  the 
left-hand  notes 
slightly  staccato, 
and  be  careful 
not  to  derange 
the  position  of 
the  right  hand. 


lJZjM 


1PTT 


£«3 


r± 


-ft 


V 


p 


s 


3  xrif  czaKCl  IZzE 
Jit*  rr  -i.i 


"i — 


p» 

-i     i— " 

lizzzizzcz 

-4 


I 


ZJ. 


m 


•a- 


"r~r~i — i — 


:?:x:^:»5i 


tsfc  -^-v-s-fs-** 


1^1      L EC 

H»r  :zr: 


zxzzfc 


i — r 


s 


aSF 


i 


at 

X 


tfcfcSzdrzzzrmdzcz^izzz:^: 


*  X  X  X  X  X  x     1  x     -*       -' 


% 


§=•== 


s= 


13 


::t£ 


:3zz# 


P      -t     i-  2L  <~      -i      f-vZ: 

:~xzxz(g|^— zizxz^pg 


IT 
9 


— - — >w- 


ISI 


M 


iz^-1 

3^ 


0 


Hfc* 


rt=s 


push 


3E3 


3 


SI 


ip 


S 


I- 


^R^ 


X 


^ 


,--*-!-* 

8 


'f^ 


^ 


IJIZDZZZC:^ 


iS 


£ 


f*»— or 


3S 


f*£EEE§ 


in 


LESSON    XXII. 


SCALE 
Ilf  B. 


t#z* 


rt 


*£=£ 


^ 


tfr*** 


■£ 


3       _- 


#v»j  Ffrjji 


epg 


^eq3?± 


I    r  w  a 


0-m-i 


0  3 

x~^~jp~f~r"r-g — ri — -i^r~ — ^ 

p_j — (    !    U^1 — ^^— 


r- 


:izrn 


£ 


-*z£ 


=-=w^  r4-g-P-F 


i — i — r 


~9o~rzzJ^^—ZZ. 


•| — i — r 


2 

<*    3  m   0~P~ 


i 


-#- 


« 


t 


igg£ 


Zr~r-\     r-^zZZ ^^SiJZ 


W 


£±ac£ 


i*EE£ 


f 


j-r-pH 


JU#-*£ 


O 


l '  _.  i m /m 

nzzzz^zziiJZZTZzr: 


f=Wl^lv=il 


J     I     r~r 


tzi-^Pzvziil 


&$$=£ 


r 


:-F 


s 


1  x 

fry  qj : .  P  f  rf  rfftTjlc  r  f  > 


*   «   «       ~*~  9.  m  3 


:*ie 


1 — r— 


£ 


X   1   X 


2*4 


i — i — r 


f^ 


j    i    r 


"  L  ii     f 


LT~ 


^ 


*E»2 


3*3 


:rnzz 


S^fFf?^ 


f^=^£d 


Appoggiatura. 


51 


EFFECT 


=P 


1 


Appoggiatura  ;  an  Ital 
ian  word,  which  signifies 
to  support. 
Appoggiatura,  or  Grace  Nott 


Lento. 


f*%tgr 


0) 


fP= 


X 


ti 


55 


-ett 


I-* 


5 


±- 


s 


Jt-IK. 


Han 


5Q 


X 
-»-   -»- 

j — r_ 


\ 


± 


(1)  When  a  small  line  is 
drawn  across  the  appog- 

giatura,T  it  should  be  exe- 
cuted with  rapidity. 

The  appoggiatura  bor- 
rows half  the  value  of  the 
following  note. 


(2)   EXAMPLE. 


^J# 


EFFECT. 


The  note  which  follows 
the  appoggiatura  should 
be  unaccented. 


The  portamento  differs 
from  the  appoggiatura,  in- 
asmuch as  it  always  com- 
mences on  a  more  distant 
interval. 

fL 

ffn  W  lA   'rF|fd 


£ 


T~ 


igW 


t 


zn^\ 


fa 


In  the  portamento,  the 
small  note  always  forms 
part  of  the  chord  which 
accoinpar.^.-s  t'.ie  note  it- 
self. 


:*E 


i^$ 


=^~n 


The  portamenfj  is  of 
one  half  the  value  of  the 
not*  itseit. 


5? 


( 1 ,  Exer- 
i  ise  on  the  ap- 
(>o7«ia'urafor 
.  ,.i.  Lands.        STUDY    VI. 


The  Short 

ippoggialura 


Allegretto  quasi  Andante. 


ii 


1 


v 


See5: 


(i) 


3£ 


« 


BE 


s 


t 


^: 


ztz 


-H8— "- 


% 


■p-^- 


:ti: 


-p— ^ 


i 

3 


1 
3 


5' 


±^E% 


~=v 


i 


i 

3 


'-=£ 


S: 


=rzT=z3 


f==: 


H#- 


EFFECT. 


1  "^ 

3==!  fff 


r# 


*_i_i. 


f 


gfeffiSSl 


f. 


f. 


:]Z:±:ZSLZ:± 


"»= 


^|J=l3 


0 


S===i: 


-=1- 


'-V- 


£3 


^rz-__.=zr 


uzie: 


3=E 


^ 


fi»  '1 I? 

-=7| L— ^p- 


T 

3 


3ZEI 


3: 


~T 


zr 


■Ka         *  


Zi 


3r~# 


4P- '     ~' 


i 

3 


^ 


** 


A 


•S* 


x 


ZBZg: 


ft— M-f-^-i 


M 


#: 


-ST 

II 


zz^WLzl 


i 


* 


_zcf: 

— *- 


ft 


sr 


zzxQK 


4 


J 


"X" 


s 


1     «i!L3" 


3 


Fine. 


1—r- 


nS: 


:3E|: 


— r 


X 


? 


3 


d: 


x 

i 

4 


I 
i 


3 

1 

-X#- 


£=3: 


;ft|#fefe 


zrS 


B 

1 


:#feife 


t 


I 


3 

1 


1 

X 


3 


a 


p-c 


:int: 

4  3 

X  X 

3    1_. 4J 


ip-j^P 


T 


cze: 


~t 


BE 


± 


•*-g 


4  4 

1  1 

x   .      X 
.i_JL 11 


-xg-g-flg- 


I 


eye 


i      r 


fe 


1 
X 


zznsc 


3 


S^feiffefe 


zcz-'i — r 


** 


3  4 


3 
X 


4 
I 


4 

1 


SfeBBS 


Jtti^i-sfr-^P-g- 


:t 


&a 


-r=r 


"rt 


-jm 


m 


t 


tp-~rf?-~ 


ZZZ3L 


3Z3I 


44 


s 


Z3ZZIZ3ZZ] 


S 


TZ.TZJ 


4JLaJLa: 


^E3: 


fc- 


3 
X 


1  J1!  4 

:z::a_zD 


tfm-^+p- 


ZEgzzi 


~r 


3 

1 
-X_ 


znaznzs: 


■yr* 


E2S3. 


:#' 


s 


*_-=l 


Id, 


'3. 


3E 


^ 


^  D.C 


3.1 


3  1 


LESSON   XXIII. 


SCALE 


izz£ 


HF#? 


'■»Fr1  .1  1:1 


•mwr 


3 


"i r 


p^-.i  rni^r 


rr-f  fF? — t  TT^Fff" 

□ — rrrf «n^j»rit      „ 


53 


( 


) 


js&m 


2  3 


'J«S^^^ 


SCALK 
Hi  F#. 


3  4  3    4  3  4  3 


iTH--z& 


'r-f— r~l — T"r""r"! — nnn — — 7T 


T-r;ri— rrg  T — rrn — 


fe^S 


3*3 


^^fe 


tEfifetasatz 


ti  i     rr~ 


r  rrr 


t=m 


us-mfc 


W^IWJ'.ZM^.'M. 


i 


□EhEf 


3 


3 


3 


Moderato. 


MINTET, 


! 


_zr__fczc 


r#&#= 


TRIO.  „ 


X 


^S?: 


^3EB= 


Abbreviation  of 
tbe  Italian  word 
fortissimo,  (very 
loud.) 


(2)   ;>;> 

Abbreviation  of 
tbe  word  pianissi- 
mo, (very  soft.) 


(3)  t# 

This  sign  con- 
tradicts the  double 
sharp,  and  restore* 
the  single  sharp. 


-rf-rv- 


-f 


T-T 


-X. 


i — r 


3?: 


1      r 


4 


~i r 


(zr 


HP 


i*    3 


r-i— r 


T~~r  i    i    r 


rrrrri 


B 


/ 


t~t~t 


Kfe 


■#g- 


rf=t 


■■I — 


*g- 


*T 


-#« 


1§> 


£ 


BE 


£ 


T~ 


±= 


1 — r 


"i — r 


T=~T 

4  4 


54 


STUDY  VII. 


( 1)       Exercise 
preparatory  to  the 

itudy  of  the  trill. 


t*K»  * 


w*?rri*yfi*itetftt 


^«. 


i 

-0- 


•^r»=^: 


-r — I — ' — i — rrn — r  ~~ ri — rrri 


£ 


rfyfyfyfyfyO-A-g-o-g- 

n-rrj   rjirj    rr-p-f-jy- 
■^f-r  ^pyi   i   i   I   It  rT^T^r 


-F- 


:=E=z:^ 


:#r-C 


'■ "  j>  i>  w — S    _     _    3— _.  S — S    3 — S    2 — I 


¥ 


* 

& 


) 


l:?iJ!j3395 


'EE3^M^I£* 


2 


is£ 


2 
4 


?=> 


: 


4 
-S>™ 

is: 


£ 


-w- 


■fc-J 


1    X 


'd&iJ^UUEB 


'w+~»  f  *  f-m-f-wrf-m  f  i  * «  ir 

r-i     i — i — ■— -|     '     i     L^«L^| — L~     f^f 


56 


LESSON    XXIV. 


SCALE  IX  C# 


r#:*i 


* 


i — «r*- 

0  X 

1 


Wii-an- 


**££ 


___  ^_^       #— rj — I"' 


i»i?z_rx: 


g&f|P 


-ft- 


3 


~f 


Srj 


..^_ 


— :=: 


l§*5=i=i§=§l 


ffl^t 


Hills 


■ 

^tf 


5 


*3 


*   -#. 


i£ 


rf„# 


s 


-4 


-dl 


1=}- 


13. 


gE^ 


K 


-& 


■zzrj: 


^ 


:izj: 


£ 


f-f-   »  m 


-<s>- 


ZZ22: 


tfcfe#-i U--U 


:?zir-*e={ 


i 


g&UrfTIl 


V — 9T* 
X 

2 

#- 

rr_ 

TTJ — 


rfS 


±±±rzrrizt: 


S£ 


^H 


X  1  X 


firf£? 


-— -»— 


y^ 


& 


~~i: 


•Ti"3'r' 


2    !  2 


s 


<-—&- 


^?S 


T~1 — rrrr 


I2?_ 


•  ^  f  » 

rH? 


■m X- 


1327 


r  nri — -— — 
rrn 


m 


rrn    rrrn 


rrrr 


—  — i — * — i — — rrri — ' — 


JL 


=£#■ 


I#5 


5P 


m 


'~a:~r 


rf*p5JgZ??i?: 


irfP 


2 


art 


rn 


r 


T~1 


s 


£ 


nriic 


2S 


■rrn — rrrr 
Trri — rrn 


f 


-FFPr-Ff 


rrjr— -  rrn 


>-« — «- 


TTT 


^,- 


y-rx 


r  r  r~i — i~rr  r~ 

— tor 


EJ 


a  X  l  1  X  . 


-a 


:-r- 


-<5>- 

1 


2  „  2     l   2 


X  -■  ft 

rrrr-rrrr- 


STUDY  VIII. 


Lento, 


r**r«r^ 


(1)    LEGATO. 


—  2 


^BS^^Et^. 


T~ r 


4 
-US- 


f-t-r-tf-** 


^ 


te 


ft± 


—  a 


w££ 


**£? 


fe~ 


6? 


(1)  Leg.; 
abbrevia'ion 
of  the  Italun 
word  Le^alt, 

signifying 
smooth.     It  ia 
the  reverse  at 
Staccato. 


— rrr  □ — r~r  rr  r-r~ 


'rr"rn    — i— r~r  r-r  |— 


r-y-r— r~r-i — r~r~  r~r   r-r~ 


-r^-i — i — r^ 


r'rr^T^-rt — ^r-rrrl — 


3I"3Xr2 


4  1X1X1 


"-8-^:ffi:-^f-r-^-r-r-r-r-r-r-|—  — 


«sSt^=ei 


:« 


*±g 


JS-=- 


ffint: 


fffffpfeT 


m 


"r^     r 


tfcc 


;^ef 


NTrf — #  f  » Pir". — !  i  — 


st 


£21 


Atf£.- 


j  rrf  *. 


— ^3" 


topE± 


(2)  Rah.., 
abbreviation 
of  the  Italiat 
word  Rallen 
tando,  signi. 
fying,  retard 
ing  the  time 


No.  3. 


MELODY    FOR    FOUR    HANDS. 

**£     te.     m*     ,^_. 


No.  4. 


MELODY    FOR    FOUR    HANDS 

Count  four  crotchets  in  a  measure. 
$  Andante. 


5*» 


PRIMO. 


(1)  8»a This  sign  indicates  that  the  notes  over  which  it  is  placed  should  be  played  an  octave  higher  than  they  are  written. 

(2)  Loco.  This  word  signifies  that  the  notes  should  be  played  as  written. 


0) 

To  produce  this 
♦fleet,  (arpeggio,) 
the  notes  should  be 
naved  successive- 
ly, and  not  simul- 
taneously. The  ar- 
peggio is  signified 
by  two  difFeren 
s-gns. 

EXAMPLE. 
liT  2d. 

mm 

i-&-       -o- 

In  chords  mark- 
ed arpeggio,  com- 
mence with  the 
lowest,  and  sustain 
each  note  until  the 
chord  is  complete  i 
by  the  upper  note. 

The  notes  com- 
posing an  arpeggio 
chord,  should  not 
be  struck  simulta- 
neously. 

BAD. 


=t 


i-\ 1 


GOOD. 


(2) 
This  style  of 
arpeggio  requires 
ihat  the  fingers 
■hould  be  raised 
Buccessively  from 
the  notes  which 
compose  the  chord, 
accenting  particu- 
larly the  semibreve 
forming  the  melo- 
dy, which  should 
be  sustained  its  full 
ralue. 


ARPEGGIOS, 

IN    THE     HARP    STYLE. 


Lento. 


EFFECT. 


Lento. 


EXERCISE 

IN 

ARPEGGIO 

CHORDS. 


TEN. 


TEN. 


TEN 


TEN. 


TEN. 


TEN. 


Lento. 


CHORDS. 


i(»~~3a 


(3) 


g 


1®- 


2==^ 


^EEB*E 


-KG)' — -*.-&- 


-V- 


~3T5£~ 


3$fflr 


"x* — 


:=^=zzi>2t=H 


"ST 


W 


d==^4 


3| 

HTM: 


~J7Jff~ 


~zz£*zi: 


28E 


'TT 
X 


"2" 
X 


"I — 


ElfF: 


T^- 


93-      -"5 


(3) 
AH  the  notes 
•imposing  a  chord , 
i*»eu!d  be  struck  at 
the  same  time  with 
the  bass. 

Articulate  with 
the  wrist  in  passing 
from  one  chord  to 

saothei 


=± 


rz r 


1M — H-fif 


b-^ 


trot 


^=3 


rr 


^ 


3£ 


-« 


32C 


JSgl 


-G»V 

-o- 
1 

X 


ZSTL 


4 

U  i 


5SS8^: 


~sr~ 


=#4 


"23"" 


"•=*- 


3 


3q  - 


4—^ 


:ez: 


s 


3?" 


-S>- 


ARPEGGIOS,  or  BROKEN  CHORDS, 

FOR    BOTH     HANDS. 


IHTII 


(1)  Arpeggi  * 
(or  broken  chord;; 
should  be  consi  i 
ered  as  choni. 
and  fingered  &- 
cordingly. 


\ 

< 


~SElZZZZJ3L 


^±z±:gz-z 


**3t 


~ST 


I 


(2) 


s% 


x 

J5: 


x 


-3& 


-S* 


it 


«?: 


ib 


55F 


f= 


3 


+1. 


3  1 


SI 


— bf© — 


* 


83: 


lTPST- 

P  ca 


r_fe:: 


X  ^ 


-X_ 


-3-1 


^F 


(2)  Exercise  on 
chords  with  notes 
tied. 

Care  should  be 
taken  to  give  each 
note  its  full  value. 

This  exercise  is 
very  important  to 
enable  the  pupil  to 
play  music  written 
in  several  parts. 


{ 


-#-«F 


sr 


g: 


S- 


-**-«i 


"sr 


IS 


jDd 


:s£: 


£ 


JLL 


is: 


x 


s*-: 


^ 


"2?" 


-*»- 


:i£gp: 


:~:s 


i — 


x£a=z 


F^ 


ifc 


3= 


X 


X 


T5f 


G2 


(1)  Fingering 
cf  chords  in  C 
major. 

In  practising  this 
exercise,  be  care- 
ful to  observe  the 
exact  f-ngering  of 
the  chords,  so  as 
to  establish  an  in- 
variable rule. 


LESTO. 


ill 


gfe^lf 


bs±3e^§ 


-jrf-; — Jr 


-  1 


a 


® 


a 


A 


^S 


\zt- 


£ 


*  1 J 


a: 


-■jf  u.I*f 


:r 


gte 


f^zr^ 


^f 


3  -|»-p- 


.»t-E- 


igg 


**£ 


TfH-ffl 


Practise  well 
the  same  exercise 
in  simultaneous 
chords,  by  trans- 
posing them  into 
all  the  keys. 


w0m 


FE^EB=-£tEEE: 


All  common 
chords  are  finger- 
ed in  the  same 
wanner  in  all  the 
zeys. 

K.ght  Hand. 


-i.^:. 


-&■ 


Left  Hand. 


3E 


"XK 


FINGERING    OF    ALL    THE    COMMON    CHORDS, 

AND    THEIR    INVERSIONS, 
IN    ARPEGGIO    MOVEMENT,    MAJOR    AND    MINOR. 


Allegro. 

KEY  OP  C/  1     #  -f—  ^     1 


4 
3    -3 


^il& 


Count  three  crotchets  in  a  measure. 


Legato. 

KEY  OP  G.  0 


bfi 


f-0  1 


4 
2  -  2 

0~0 


# 


HKT  of  O. 


#-3- — -•» 
zztezjzf 


%--8- 


2  _-  rz-  2 

5~FT  i  f  f  ~f 

0-1 1       I  ;       w 


IF 


"ST" 


^E££* 

i-«  ;    ".( — ! — 1 — r  m  l 

r  ' '     '     i     i     r 


r  zxzizszr 


I — I     F~ 


•itrrrt-** 


ea 


E£*V 


zfczizu 


2Z 


KEY  of  A. 


fcfc= 


til      • 


-F^EEE 


sjl*=5 


3=4: 


^F^F 


-s— 


r  ^t- 


--*-»• 


-r~r— r~  r~  r-y-* 


-s- 


x  -  x 


?=FR 


-S-- 


-X- 


T~#T 


^  W-  ^ 


-»'-  • 


"i — r 


+-'    *]»i 


•^ 


-•-X- 


■^v 


12    4    2 


X    1     2    1 


HE5?* 


*a**£ 


^l^l    *  x     2  2 


4    2 
KKT  of  B  or  c[> 


2    »    2 


isggllg 


X~*T± 


X  •_  X 

i_»  r  *♦  jl 


-ZEzllttr 


2    #    2 

X  »  TZ  »  x 

3 . » :rz:cZCi«_L 


"i     r 


i     r 


EZZIZI 


ixztzt 


„-_K 


"O" 


KEY  of  F#  or  «b-         ^^^R 


'■$%£'- 


z_:sz3Ziz 
i-— * *x< 


or'. 


X  3.#.  3 

m  1 — i — 


"i — i — r 


_(__#_ 


3 — • 


2     1X1 


■sF 


) 


KEY  of  C#  or  Db-  2^    ,      2  I*"  2     j 


d&gtfcf 


*^=S 


^x~?xS?  X? 


-X-*--j 


T~T~"r*  * 

_J » 


^3 


4 

2    -    2 

1  .#J*Z».  1 

x-»--FFt--#-x 

2  #i — i — i — r-T~-»  8  „ 

"#-i — i    i    i    i — tsrr-m-*- 


#-L^?3zazxz 


f'l — I — I — *- 
- »~l      I     I  "I     I — V 


fi^H-FFFrF 


«*T* 


Sa 


8     2 

4 


xrl     * 


•  Same  fingering  in  both  Keys. 


-«-p-r=» — 2- 


Wr 


KEV  Of  1*1)  or  A#.  1     #_ 


1  »-f-« 


S     x  1  ^^  13     4     3  ^ 

x   i    3   i  r  ,— 1— ,^ 


— r 


sjjfEfix 


— I : 

5E 


2   #_~r~  #  -» 
l-FT-r-rhi.-  f»  1 


"2?" 


5Elr£f 


£ 


KEY  of  Et)  or  D# 


Count  four  in  a  measure, 

12-42 


12     4     2 

1 


Same  fingering  in  both  Keys 


( 


1  ^         I  *3  »     3  3 


KEY  of  C#. 


W^W: 


*  Same  fingering  in  both  Keys. 


*  rffff-M 


EXERCISES  ON  THE  CHORD  OF  THE  7th, 


Fingering  of  the  Chord 
struck  simultaneously.  EXERCISES. 


IN    ALL    ITS    POSITIONS. 

3 


r 


i.  ii.         3 


&S+ 


X   O  I 


-H-X-ilf-f1-" 


(1)-'- 


3       X-^'P-'F  fV         3 

•  r~  "r_T^*"*r"         "i~  r~  r  r  ~    0  __ 


Fingering  of 
the  Chord. 


T 


3     -  ^~ 


=S 


nP 


-X-#- 


^z- 


:«z~iu: 


x  ~?-;g: 


'-&%> 


s»g=~ : 


r-i: 


(1)     General  rule  for  fingering  all  the  arpeggios,  or  chords  composed  of  four  notes. 
The  3d  finger  always  on  K\>,  and  the  thumb  on  C.     The  thumb  always  on  G,  and  the  3d  finger  on  B^. 


9 


_J_r  "_A^ 


ST 


X 


-&- 


,  3ff~  +fj 


ft1 


67 


The  3d  finger 
always  on  Off, 
and  the  thumb 
on  E. 

The  thumb  al. 
ways  on  G,  and 
the  3d  finger  on 
Bb. 


The  3d  tinge- 
on  Ah,  thumt 
on  Bfcj. 


Thumb  on  F 
3d  finger  on  Ah 


The  3d  fingei 
on  F#  thumb 
on  A. 


Thumb  on  C 
and  3d  fingei 
onEb. 


(1) 

Arpeggio. 

Exercise  on 
passing  the  4th 
finger  over  the 
thumb,  and  the 
thumb  under  the 
4th  finger. 


(2)    Exam,' 
of  the  arpeggio, 
where  the  sair.o 

fingers  (the 
thumb    and    4th 
finger)  are  user' 

on  differs  n1 
notes. 


68 


EXERCISE 


FOR    PASSING    THE    LEFT    HAND    OVER    THE    RIGHT. 

L..  II.  L,.  H.  I*.  H. 

Sustain  the  minim      1   I  1 

u.    its  lull  value.  I  • 

^3  — » 7  3-»-<5' 


UAMPLE 
IN  ARPEG- 
GIOS, 
CROSSING 
HANDS. 


Count  four  crotchets  in  a  measure.       4 

ft #3  _ 

"TIT 21 


— mS ; q 5 


Lento. 


^rJ&=c 


X 

§ 


r-fe 


^ 


8 

rr 


*Eizp: 


^epsi 


s*- 


s^ 


f: 


^ 


4 


¥ 


:gi 


"i" 


jEC 


EB5S 


^ 


-<S>- 


EXERCISES  IN  ALL   THE  KEYS. 

4 


2 


•OWTINTJATION 
OP 

EXERCISES 
OK  THE  CHORD 

OF  THE  7tli. 


r# 


_x_#W  _:pi;:> 


fel 


S^g=E^^=^?E=g^ 


i±  ■ 


x 


e=:=-z-^i:fctc 


^ *_ ^ 


frf    &»   **&£=&=i 


u^         ,    2  •       *F"1 — — r     "i — (-#■# 


nnzwi 


tit 


V  4     -"FT—       ' 

-* — rPg=-n 

»~r r-  r^agT— — 


I — |»"  -  x 


K^3 


^ 


i 


S£ 


wm 


4  X   •  ftfc 

1     ■  f  QJ-. 


H=v 


& 


tt 


:*=±3: 


XZaC 


^3 


:.*- 


:«:fc 


4  X   ftf"^         T*-#  X    4 


i-^^r ^?__ 


££ 


^L 


^*E=&:£ 


x         *  #-rL:p      £•*  *  x 


^P 


(1)  When  a 
chord  consists 
of  fire  or  six 
notes,  two  mar 
be  played  with 
the  thumb. 


70 


Allegro. 


EXERCISES    IN    ARPEGGIOS, 

FOR    BOTH    HANDS,  ALTERNATELY, 
MODULATING    BY    THE     COMMON    CHORD    MINOR. 


ssiiS: 


C  MINOR. 


m 


2: 


:.r-gv 


pm 


XZMZ 


£§§ 


3 


3E"£ES£Eg| 


X 


^r 


<i  MINOR. 


ps§l!|p 


,  r  Id — ^j    i    f^ 


:^ 


^ 


«*      r 


^?g^ng 


D  MWOB. 


F=^P^ 


^ 


"'offtfo 


^ 


A  MINOR. 


S5rx-fl 


^ 


3?T 


!=?-• 


T3 


x 


?* 


g: 


£: 


3 


3E 


h^^* 


K  MINOR. 


i-#-T-^^2 *-2 r-# 


•^  a       x 


£ 


B  MINOR. 


— dtfJ  x  3   ^^-y^x^: 

a*    1  1 


£: 


f-" 


A#  MINOR.  *»^ 


BtRRF 


#*- 


J^lt.V"  **;-) 


1  i 


£: 


F  MINOR.  1*1 

2    ^  T"  -    2 

<-»frTpg. 


s 


±*b* 


i  -  1  -  i 
xu,.  £:  fcfc#.  x 


Wt3&± 


c*r 


V 


£ 


£ 


5 


C  MINOR. 


a  ^ 


EXERCISES 

IN 
ARPEGGIOS. 


Allegro. 


— »- 


t~! — i — r 


■-«- 


-e-, 


xr,-[ 


fcfc£_! 


gfe^g 


p* 


Practise  the  same  exercise  transposed  into  C#, 
and  C  b ,  with  the  same  fingering. 


xzc 


T=I=C 


-f— I— r 


-*-<»  r  »• 


\ ~>»5^  "TO — i — i — 9 — r^52  2 


» » 


-  1—  -    2 

r  I     I     i     r 


■e=*trt 


H-H-; 


p!    1    I    f^ir 

i    i    i    i    i    r 


:zr#~B" 


£j — r  »  X 


EE 


zt 


1  p-^p-1 

-X-»r:rz:ri«- 


2zizxzr 


3    m    3 

1  *T>     » 


-i — I — r 


XT*! 


2^3 


-i m~** 


-*-#— 


"i — 


laznxzi: 


-  i  '*  r~i     r 

*     3    * 

"3".  "•" 3  x 

9  i  i  #  i 

X  2    *T7*       2 


3-S 


rs 


•*-p— 


ff± 


• 


r  0  » 


Fi»      rJ 


S^i 


*  *  1 1*1 1 


13    4    3 


r~r»" 


• 
1 — I     i     I     £  F I 


SEzra 


~T*       y       »"  I     m  9 — l  "* #" 

JE x-m-  f  — p-  | , 1 9 ■ -; 


4     2     13 


4_3EZZz: 


8    1X12 


f>" 


4   a   i    a 


72 


EXERCISES    IN    ARPEGGIOS, 
WITH    SMALL    NOTES. 


ASCENDING. 


Moderate. 


(1)    Divide  the  measure  by  four  crotchets,  and  do  not  play  the  small  notes  until  after  the  second  beat. 


DESCENDING. 


(3)  Tht  same  fingering  as  in  ascending 


n 


< 


^I^zfzv 


74 


EXERCISES    IN    ARPEGGIOS, 

WITH    SMALL    NOTES. 


Moderate 


! 


?-i?Pf  jT*  jpf-rf  £  iffff  t rf Ej?Pf  P*  -j  jf^  fef?  fen 


e 


~      ra^n — 47r  i     iTfrl — 4"rt~r 


fclf 


SSI 


rn  rrr 


Pfoy  the  small  notes  together. 


i — . — . »_j — | — far — i 


'& 


=s= 


ffl 


fe 


W>      rf£ 


ni^ 


•t 


fe 


^EEE^EEpEEgE 


3 


-fC^  fr 


BffigE£E^ir.i3 


izflpt 


7£ 


i — r 


i«E 


tr- 


£=*=££ 


w 


w 


±3C 


LJ  -U 


qz 


f^tffl 


*w { -  m  i  #t  saj  r  ■ 


T^rT"^?^^  '  j. 


_^|fir_JL_4j>Lrf4__ 


u: 


j    i    i    r 


<s- 


3  b 


Xl»± 


±na 


r 


E 


c    ^ 


cfaB 


Hfl 


—7^ 
74"^ 


=P-fe 


:bB 


3fy^£H^-i 


Zlrll    '      f  ?TTT  f 


W 


m^^ 


( 

/ 


H-f>     Tt 


^S3z&!EEEES 


DAILY   STUDY   OF   THE   SCALES, 


11 


IN    ALL    THE    KEYS,    MAJOR    AND    MINOR. 


x  8va 


O  MAJOR. 
RELATIVE 
MINOR,  A. 


The  relative  minot 
of  a  major  key  wil 
always  be  found  a 
minor  third  below 
the  tonic. 

The  relative  major 
of  a  minor  key  will 
always  be  found  a 
minor  third  abov« 
the  tonic. 

Key  of  C  Major. 


Relative  Minor  A. 


Major  Third, 

Composed  cf  two  too* 


:E^E?E 


Minor  Third, 

Composed  of  a  lone  and  a 
half. 


s^E?E 


Begin  the  practice 
of  the  scales  slowly 
and  continue  unti 
they  can  be  execu 
ted  with  rapidity. 

Give  all  the  notes 
equal  force,  and 
carefully  avoid  any 
movement  of  the 
hand  whilst  the  3d 
finger  is  passed  over 
the  thumb,  or  the 
thumb  under  the  3d 
finger. 


(1)  Accent  wel 
the  two  beats  of  tin 
measure. 


76 


vva. 


B  M1SOH. 


>lf 


8va. 


# 

t 

O  MAJOR. 


t# 


-?-4- 


:x:: 


:-s-->~ 


^  * 


*-* 


=**=5fc»iKeF 


33^ 


x_ 


a 


0fTf-TfEr\  -JLftfgff, 


:»;f 


tat 


SZZ — -jrwrP- 


*£f£_£££l 


I 


8tw 


loco 

3 

^z#ziz5: 


-rz^z* 


fczfcfc 


fc££E«iM 


#— ■ 


& 


fe* 


rf-  fa 


#T? 


3  P^^L  1 


:»_-?-=  zzzz^ii 


M 


M 


gz#zz^z«z3ztz: 


m 


S3— <S>- 
SJ~  S> — £3" 


-G> <S>— 

S>— 


"O"      "S3" 


8m. 


"ST 


B  MIJiOK. 


s 


"^  -« — J-y* - 


8»a. 


/oco 


3#  "P 


*-=ifc3ffi 


^^ii=^^ 


;-£ 


jjf^pllfegp 


:zzx 
£z£ 


-fez 


5T 


-<S> <S> — <5> <S>— 


L-£2. 


:sz 


'**»*  *?EEf  EEr?  » 


s>— a-  -<s> — 


=^3 


f#  aiuvou 


t# 


* 


^*3*3 


3-*t^5T 


c&^ 


49  ^^"^^J^^*     *^~  2 

SSssz:-i^:  t  z?±^zz:zz:z=zz*:#Z5zz 


_X 


x_ 


?=*-? 


Socj  2=*— — =?  *3  -"=t 


-o-  - 


<sr   :s?; 


.^s^ 


-s>- 


-G>~ 


JBL 


,::;:    zz    zzz:  "»-         ^-  zr 

-<S>-         -IS-  -iS>- 


I J 


19  raAJOK. 


L#;* 


*A* 


ie£s 


^3* 

i  *"      x 


—  -+vtr 


"&&- 


ZT-rrL 


w 


zzzzz*-?! 


:#z£ 


2  «    * 


3 

-■ztf: 


»-f»-f 


-0-rl , , p-  j r- 


Ji 


8«a 

z£  ff^^-i    i    r  y 


loco. 

2 


agaLbT^ 


tf^fes^ 


=t»z 


Eg=f=*^g 


#-»  X 


Sfr^S 


prf'i 


i   r- 


zxzz 


*zj: 


»~f__zzzzxzzzzzz:?zi : 


E 


,-&-&-&■ 


s>&<s>- 


j^zezzsjzzfzz?' 


*gz- 


-®tto- 


-«>  <©- 


7* 


C#  MINOR. 


*         8»a 


X    1 


•  t  # 
#  #  # 


80 


x  dva 

*  P  ^-J     ^0^*         P  - Z~'r     >*^p7_     f _ I 


&s^m 


8va 


8»o.. 


loco. 


iE^^?fcf^=[ 


"  f 

u\)  MAJOR.    /  I 


es 


■b  MAJOR.    /  \.  ~*10#^£ 

a       9    r     i  j-T" 


7?=pii 


33=?i 


Xj  8tw 

aZg^fc^xagzzi: — ,»~f~rzr~cr~nr 


81 


1  x 

a 


82 


x  8ta |  ,,„„, 


A" 


sa 


CHROMATIC    SCALE. 


(1)    x     a     -  


fee— |— M—FT1       ?t8  ff  ^^T^TT^^^T    t1.J.3=f== 

Wx     3     x     2 — — — 


(1)     Tim   most 

usual  and  best  fin- 
gering, because  it 
is  uniform,  and  is 
calculated  to  g;ve 
equal  force  to  each 
finger. 


X       3       x  2 

£  bp-  £   ^  J    »     » 


'i '       i f 


i — r 


i r 


-p 
?=&? 


J&r 


E3E3 


■» 


:#i*i 


: x_a 


MmJ  r  r  rTr 


~i — i — r 


V- 


«££Clt£iiJL 


m 


~J~3~^ 


5=JP>£wf=fcw=S=£l 


-<s>- 
1 


Q  — 

:zie?: 


l . 1 . . mi—±tm — m — »• 


(2)1     8 


c»»g=frtf=*-**-fr 


~r 


~rzzF- 


1 


•'! — i — r~r 


v       ,        2        1 

v       2        1       x       7       M    J*- 

if-f^t  f T  ft 


-I 1 1 1 -I  i  i  


—  }      I       I 


X        ■ 


3SC 


■fftfff'rr 


l       x    i  3       2       1 


A       J        2 


~l [ 


•i 1 r 


2_    1 v 

:pdJf=PEE£ 


*3 


^23 

-f&-\ 1 1 1 1 1~ 


2 


:3s 


~i — r~  i     i  -^-i" 

f# — 2~~r~Z~l 1- "  i~ 

1       X      2       1 


X      1 


1 


— r 


l    ~ i 


32ZZI 


(2)  This  mode 
of  fingering  may 
be  employed  in 
a  moderate  more- 
ment. 


EXERCISES 


In  passing  the  thumb  after  the  4th  finger,  and.  the  4th  finger  after  the  thumb,  without  regard  to  the 

ordinary  rules  of  fingering. 


Note. 
This  fingering  may- 
be admitted  in  some 
cases,  without  being 
adopted  as  a  general 
rule.  Still,  as  it  is  de- 
sirable to  acquire  the 
greatest  degree  of  ex- 
perience and  dexterity, 
it  is  very  important  to 
become  familiar  with 
this  mode  of  fingering, 
because  it  is  the  key  to 
*  great  number  of  diffi- 
culties, and  may  fre- 
quently De  employed 
to  advantage. 


Allegro  Moderato 


_=czr-rz:Pz*-iZ#;*i5ir 


"F-P" 


^  *   1   •   £  •   -   *       >\ 


Legato. 


i  i  *~* — 


a 


-h  ■■  i  „   ■- 1 — i — i — i — i — I — j    r  w  i — i    r 


^yffl^M^B^^E^^ 


KEY  OF  A  I) 


^rir»zt«zizx— --= 


•Eff 


r-ri» 


t"l — i     F#  ^       X    3 


— I — , — f'9  m  -w 


i — i — r~ 
"i — i — 1~ 


S£* 


FH^ 


~i~T*'S- 


fZ*^£*rn&4£*?5 


__x. 


w   i — I      i — i — 


i — i — r 


rx 


-«— - 


rtl 


4 


kfcfffe 


t    i    '     r 


85 


foz 


tefffrrrffrrfrr 

'"  ' '  i — i — i — i — 1 1 — 1 1 — i — 1 1 1 


i    i     r 


-•~IZ'JLAhm~P 


T^S^-l— I     I — l — r~i — f— i — r-\— 


^S^s^ 


KEY  OF  Gb- 

X 


4 

X  v 

'i   i   i    n~f— i — n      r~HP     rg 


8»a. 


ffi^ 


4 


»'"  r  Cf  f  r ;;  Jl?1ffflTg- 

—    i — pi — rr^Ti~3~<  *  n   r~i         '  ""^ 

— ■■-■    TtJ — •     — MP. 

III.     x  ' 


r#~r  n — r~r-ri y-|*~' — r~|—M — rr*  - 


KEY  OF  i<:b. 


bfc* 


SPt^jJ^JUg 


S=f 


rftf 


■rf-M-H 


F^ 


g§| 


rr 


£=^ 


X 


±z^z 


Lento 


Lento. 


8€ 


MELODY  FOR  FOUR  HANDS 


SECONDO. 


Allegro. 


£: 


£=£ 


* 


£=& 


£=f: 


EE 


£: 


f-f 


B 


5 


No.  5. 


8    j> 


E& 


i?l 


V 


IXI 


■f-f2- 


-F-F- 


F 


j? tf_ 


:f~F 


-f2- 


-F-F- 


I 


-F-F- 


^;t- 


^FF 


f        F 


t~~i      r 


i      r 


F        F 


f 


r  r  $ 


m 


-p-p- 


i — (— 


E 


^ 


=F 


-F- 


Ur 


-e- 


-« 


-<s- 


\Fine. 


^-F2- 


y   p- 


r 


j" c 


JFFHF 


E 


22 


afcabafc 


:22i 


ff- 


iT 


"*  ■  r  r  r >^ 


-s>-  * 


f*T  r 


:zsc^— 


— m m~ 


^—jSUJL 


-W 


Z^ZH 


r^ 


g  "~#" 


:c: 


~r — r~r~ 


±L 


—G* 


— gr; 


jsl 


:s: 


■Eza 


s>-*         -m- 


I r 


-«»-  * 


2z: 


r 


-F-f- 


fr*-  -«|- 


f        T 


-P-F- 


-F-F- 


0 


f^e 


-F-* 
P 


-P-F- 


#3-  -«: 


a — • 


Zt 


*     a 


f 


± 


"i — 
t 


~r      r 


fcw-  -«- 


*Li_ .dLi- 


!£ 


-F-F-fJ 


-#* 


-•-P— F 


■F-F-iN 


— 6*       f"» m       C       C* 

gizrzzizdbgzn^— r 


-F-P- 


:#- 


F 


fHr_#. 


-F-F-si- 


* 


£: 


:f£±z£: 


8 


-i — $» 


E 


f2^ 


3=£= 


r_ 


^=e| 


-•F-F- 


:F: 


:^_nz:c: 


#*- 


E£ 


£ 


5 


n*- 


:F=& 


m 


£ 


£=E 


E 


9 


A. 


321 


-=»??= 


ZXC 


MELODY  FOR  FOUR  HANDS. 


No.  5. 


PRIMO. 


Allegro. 


Wu-  A 

A  trz 

±.  r^  +■  ^  * 


-| r 

:xzz± 


ix: 


a 


4 


2 


A 

4SL      • 


1  x 


3£ 


if 


A 

ft* 


•'     T 


rziir 


=£ 


T 1" 


X 

2        qfi?^ 


"I J" 

X7- 


3^.  <> 

=  3  f  ft  £  fee:  f  g 


X  . 


£ 


=P 


© 


££ 


^ 


1-4 


JE- 


i 


»  i 


1 — T 
i       i 


4 

1     -,«- 


? 


1 
it 


TT- 


f  r,n;; 


X 


3 

X 

-jS>- 

js?: 


££ 


:e_J3z: 


£*J 


fete  £j£  .  f?f  #f 

i — i — i — n — i      hn  ~  ;  i —  i  ■  ~ 


^ 


i-p_: 


x 

3      £ 


Fine. 


ff 


ist 


ap- 


S 


f 


I 


-0 — #- 


~g — g 


rrr 


S>  — 


f 


s 


*ZZC 


f: 


1 


^^ 


-fry 


±=& 


±  -p-    P-     ■&  ' 


-y  t 


J 


i^zz: 


fci: 


as 


1 3_ 


t     i    i    r~ 


— )-— jg-z 


_L 3_ 


"1 


ids?: 


rr 


-JnLJ-^ 


E^: 


~i  "I 


^=z: 


^ 


~] 1 I    r 


-#*- 


4 
•        3?"  it  m   C    1 


•¥££  £*££££    ><   . « 


££* 


I  £jf|  £  fffft  £f£gf£  |  &g£  £_fe  £  ££fe 

"i        r~  ~i — i — n — —  ~i — I — I — i~r~  — i  •  i    th 1 — r~  ~i — r  1        I    E  j  "i — T3 — 


I 


-t-P-f-    g 


3^ 


y^ 


hFhF 


i — r 


t — f — \~~rj~rr 


jr-Pzwit 


x 


i — r~r 
~t — i — r 


£=? 


F=* 


:^P=FPhF 


Pfe 


D.  C. 


88 


1         (i) 

This  mode  of 
fingering  should 
be  avoided,  on 
account  of  the 
unequal  strength 
■which  exists  be- 
tween the  thumb 
and  the  1st  fin- 
ger ;  the  1st  fin- 
ger being  the 
weakest. 


CHROMATIC   SCALES. 


g 


x 1. 


•  E~ffr — r     i       i       r 


via  3 

t i „     ■     a     i    .."     ^i-r-JI-^-^-Mf-P-F-^n— "- 


"i r     i       r 


R-- 


■g—g^g — i — i — I — \zr 


X      1 


~X — T 


a 


x       fi       1       x  , 


X_1__2_X 


^S 


.2 


bziat 


-2 


«« 


V 


-X-^-2 


rrrrrw^ 


i — r 


f£££-g-  ib?   >< 


^=E 


-1—1-1—1 


^#_« b»— » 1 X *__« „  __. 


EXERCISE  FOR  PASSING  THE  THUMB. 


Presto. 


r.  h.    x  a 


X    2    x    8    x 


3X2 


X    2    ^    2    X11 


"x~2:xir^Z3-x_L»xT_s:3— 3-2zxzr 

— p — m^-n-i — rrrrnff-i — 1 3    r 
— M — h — n — [ — i —  ri — r~i — r~r  '~ *  ' 


R.  H. 


(2) 

Indicate  the 
time  by  group- 
ing the  notes  in 
triplets. 


.j-^-s-j-if-v^— x-3-J- 

X  2         * 


.       f -f¥   4.^     Jj  -J      X   .ft      *_    ,  A 

j — ^^-F=Ff=F^*pici;f=r^-+-i-|=a=frFa 


2       *       »        3       X       2 


V  x      ?/      X      1 


*       1        2 


_r  T_ 


1 r 


i^^giPpi 


•j — i — r 


-<s>- 


EXERCISE  FOR  PASSING  THE  THUMB. 


2    XL?     Xu2  x    2 


!•.  h. 


!f¥ 


'i — r 


X    2    vy    2    Xi  i       X    2  °    Xi 


ife 


L.  H. 


I 


m 


89 


=^i — | — j  — ! — ^_ g= j=^i=g— ^-^^  ■- 

X       2       X       " 


x 2     x     2     *,_bi  b# 


1 — G    I     I     '  = 


l_ 


— p-«p— P-*F=-f=f — i   ;   rrT~r 

1  i      i  ZT 


r>  \ 


A 


T__J_ 


X       2       x       " 


*  <M  .  *  5  ^?  »  »  *      ' 


Indicate     the 
time  by  group 
ing  the  notes  i» 
sixes. 


2       1 

b, 


P 


1 — i 1      r 


X       2__ 


-x- 


:j=S 


i 


EH 


&^3^ 


-> 


:*=i=5i- 


3 


— — 


X       2        1        v       „       *  ,Df 


x       1        2 

SI — I — 


-|       r 


x     a 


=Efep£ 


~E 


"i r- 


■F- — 


-St 
x 


T~ 


CHROMATIC 

SCAItE^ 

IN 

CONTRARY 

HOVEMEST. 


6 


g 


2       1       * 


HP* 


s^iiiiigii^fegs 


"i — i r 


*     2      i 


-J-W-4 


-p 


qZIX— g- 


#'-b#L 


^mt  ry  f  T  T- 

Zir— f— m 1 1 r~  ~f— 


'i 1 r 


>- 


ife&e^ 


8i?-ifTrffT 


—4— -a 


gins^ 


^IPPlSlRP 


Succession  of 
notes,  proceed- 
ing by  tones  and 
semitones,  major. 


'  DIATONIC  SCALE. 


lpS| 


Succession  of 
notes,  proceed- 
ing by  consecu- 
tive semitones. 


CHROMATIC  SCALE. 


feg^=S=Mil^i 


In  the  notation  of  this  scale,  C#  may  be 
written  Dfj,  and  vice  versa ;  D#  may  be 
written  Eb»  and  vice  versa,  &c-  &c.  &c. 


ENHARMONIC  SCALE. 


=il^Hii3N?z?=» 


fe^SI 


90 


LESSON   XXV. 


The  minor  mode  is  that  in 
which  the  third  note  of  j*e 
scale  forms  a  minor  third 
with  the  tonic. 


Minor  Third. 


-  ■■         ' 

To»e.         Semitone. 


SCALE 
IN  THE 
MINOR 
MODE. 


5q^t 


EpiH 


■-w 


z^& 


»' 


^Vw 


-»-a 


<4_rrri» — • 


saf 


^Egjjfgfeg£^ 


r  -.•-te^TT— H 


— ■gjazrrrrP — 


•SSTf 


=^E 


^rp- 


.».  ±  -» .^3 


b  ^  j  ^7?g 


err 


S, 


FT    f*m. 


«Bg— T-frr 


■sr 


rrrrrj 


^ 


T^sf* 


&£ 


:xizt*in 


TiT — r  ,- 
rrn — rrrr 


v 


^gr 


^5BF 


=M5 


(i) 
Mordente,  (or  Shake.) 


:C^ 


EFFECT. 


> 


=P=iP 


t^S* 


»-r- 


tztztzr 


The  small  notes  should  be 
lightly  executed,  giving  the 
iccent  to  the  principal  note. 

r 


Good. 
Porte.  | 


Bad. 

Piano. 


P 


■&=3  -*  pg== 

^-__i# — !    not     |   4*Z_0 — 


Piano. 


Porte. 


(2) 


«  ■ 


*%H 


i^S 


ARIA. 


S*35£ 


"ITT 


Crr- 


TFT 


tife 


ri    i    r^ 


n — i — r 


n~ 


^j- 


•*- 


FSE 


Pr*F 

r»l 1 1 


w 


n — r 


&&fci 


ZX 


* 


3-p S 


^^W 


ttti    r 


HE: 


$    Andante. 


When  the  thumb  has  a 
note  to  sustain,  several  notes 
in  succession  may  be  execu- 
ted with  the  4th  finger. 

The  same  rule  should  be 
observed  when  the  4th  finger 
has  a  note  to  sustain  :  sev- 
eral notes  in  succession  may 
be  executed  with  the  thumb. 

EXAMPLE. 
4     4     4    4    4     4    4     4 


fll£  Vr-f 


g= 


P- 


EE 


T? ! — C2     I" 


:32D 


:fe 


JBC 


5 


jPine 


»i 


2 


I 


— T 1 1 


-I — | r 


Jl 


:=r= 


::^sz: 


xzc 


E 


-<s> 


2  1 

fl*     3 


II — I      L 


_J?#«'_ 


Win 


x5. 


Ten. 

4-S- 


EXAMPLE. 


:t= 


-P-» 


X   X   X   X   X    1    X   X 


ft 


-#*<- 


£ 


it 


£ 


1 


#-• 


^C=  -=9 


$ 


l 

-0L 


JL 


a>- 


£ 


X 


I 


-fr 


1  S  3 

Efe 


.Jlbl  _•_ 


2" 


91 

a 


:PE= 


E£=f=t 


m 


STUDY  IX. 


Allegretto. '         « 


bcSS 


EXERCISE  ON  STACCATO  NOTES. 


"rz L 


Zfc 


;  1    *-    t:    £ 


r 


F 


S^EL EL 


^ 


— »- 


±- 


4 


£: 


~i~3 — a 


be 


2 


Sft 


-J^- 


T/ie  Aand  should  be  extended,  so  as  in  reach  the  octave  without  deranging  its  position. 


— 


v- 


:^±r:z* 


:^ 


SE: 


e 


r 


3 


E 


"T 


^ 


it 


^ 


BT3 


F 


r 


Sr 


-^w ■-»- 


EEE 


3EI JD 


HEE3 


4 


x 

-0- 
-»- 


m 


± 


s 


T 


:^(H 


fcr 


:c=*E 


xzzi: 


—  r     r   -, 


Ed — n — ^~r — 5~ 


* 


3 


:g 


A 


fe£ 


5 


:*i 


KJ 


IF 


Szffe 


3 


Kg-. 


*j: 


m 


*: 


y    p- 


ill 


J3C 


r^_ 


#^ 


»r-».-../;,-wlfc 


*£ 


H 


a 


c?J  a  Jt 


\ 


p 


3—EE 


r 


s 


x 

3 


5 


X 

4 


X 
4 


X 

4 


1 


'H 


5=5 


*zn-a 


@ 


:zxz 


izc 


i 

4 


31 


E 


»  »   '  » 


^  rzzt 


4 
I 


if-     t 


SB 


"i — i r~\     "T  . 

**■        k*"        '^> 


— » »- 


31 


5 


a* 

•v    J- 


Z3EZZXT 
4 


X 

-a- 


fEzzE 


* 


W= 


x 
i 


r«  j 


X  X 


?EEpi 


:Ezzi: 


5% 


-*r ' 


Of  TH1      "'^Sl 

fuHITBRSITr] 


o 

tMAD 


««nv/ 


92 


HIKOR. 


# 


lE^E^: 


^e=F 


:#zzr:<j~r;; 


LESSON   XXVI. 

I !-?—* ZZtlZZSICZZtzrzzfclZZZ 


?gg^^ 


g  ^ 


E 


P» 


"( — rzr 


e 


£E 


-r-  ■    ^j — r~r-r-|»— t 


i — r- 


KIXOH. 


s 


Y*- 


S-. 


=g?ffiE 


_##^ 


4_ 

:*: 


X  #  3 I  J      4  ^ 

P-p-hr~ rfy'w «  _ I    H""i  "I  JaN***1 1  f"*j*»yJ-T^*1 1  IT 

Kz  :-=!^izlii^zrr  ^Jzszizfzxzzzzzzz+zzzi^izzzzzz'zez  :J=«= 

^^*  x  m  X 

«= ' = «car r—  I H I ' 3        ^     I      X * t»     \7 T^"^%fc^i 1 


:zMzzH- 


E-K=£-g^I 


=^ 


i     i     r— i — r    i — o — 


razz:: 


ISOR.       \ 


§S^= 


ITT         J ii—  ^^» I  I 

r r — ffr_# — 3 — izi"i z.  1 

r ««, x-2~ — r_ 2 


4  m*.  *  3  1        2 

SgffZZ'ZZZZSZzzi — r~r ;  r         r     r — f  f     f   1     i 


:^ 


g^^f 


1=F=, 


I     1     rzi— t— 1— 1: 


9=#-=3=« 


fZTJr 


T  T  J 


3 


:az*z:sx* 


* 


atazrzi 


Wfoj 


T~ 


WALTZ. 


Allegretto,    a 


t#- 


-3- — is — 1 


~3 


i i«i 


A 


.3 


T 


zczztzznz" 


EzF 


1    * 


r^*t ;  *-, 


-*=- 


:lzz: 


2 

3t 


"f         r 


"i r 


X 

21 


E=X 


A 


-P 
-4- 


r 


«Z_Z11 


tzzzjzz: 


A 


IE~zr 


*i    1 


r_##2:  _zfr_ 


if— F-z£ 


L^" 


y     Iff  r^- 


j    1 

41* 


r  j*  -> 


-F— F- 


jS.^_ 


jPine, 


g^ 


J2-. 


mi !■  iri!  b 


x    1    3    2    4    a 


T 


is: 


£ 


=£ 


—3—3—1—2- 


x 


x    2 


;P= 


t 


T~ 


31 


"X~2f- 


£ 


x- 2 


-[— 


99 


At 


P 


£=jjfe^ 


i    i    i    i    1— 


:=ps^e 


i_JLt^ 


EXERCISE  OK  STACCATO  NOTES,  FOR  THE  LEFT  HAND. 


STUDY  X. 


B1^ 


_X__ 


^--^-'f4-n<S-'r^- 
I *  J 


=*3 


£ 


:s: 


£ 


1 


W- 


4 


~g?~ 


4  ._ 


W=F- 


f- 


1 


• 
r 


£ 


~r\     ^~r     _    — — r~ 


f*r-?*- 


— rj — r~r 
1  0    I  * 


Bis 


? 


=3 


n_n 


=NE 


— r 


3 

4 

2 

3 

i 

"""'<?'        """'                  

-#s>- 

p    r    * 

* p— 

• 

r f- 

f~  ~ 

t      f 

— r— r— " 

r 

I 



• 

p     0 

.....      ! 
1 

=1 

p— 

p    # 
i  i  i  i 

41- 

# 

#i 

*  r 
r  i 

p 

—p=F-^ 

tf-JL-x-jgfc 


:p=£=x: 


:E 


i      r 


T~ 


l 


"i 1 r     r 


=r=F=i=t= 


§ft=q 


-#p- 


3E=£ 


3        ■ 
»       P 


4 
-«2L 


"i — i      r 


i r 


:»=£ 


"i r 


_r     r 


1 


~T~ 


-e1 


e--. 


:x: 


-Si- 


^  ^  n  < 


=* 


3 


2EZ 


£ 


x 


t 


tzr~nr 


1?-W 


rt- 


m_i _a_ 

cSPjpJfP: 


— x-f- 
armi 


:r 


-i — x 


e 


-F-S 


T 


-p-   # 


£-?-?- 


rr-f- 


^^=^ 


:?=F 


3_ 


3"~T~ 


■  I   # 


:pir- 


:^ 


r   r 


s 


-p 

:F 


£• 


* 


lux 


(1)     The  F,  being  a  semibreve,  must  be  sustained  during  the  whole  of  the  measure. 


W 


94 


(i) 
Brupetto,  (or  Turn.) 

Grupetto  is  an  Ital- 
ian word  which  signi- 
fies a  little  group. 

The  Turn  is  some- 
times composed  of 
three,  and  sometimes 
of  four  notes. 

Torn  of  four  Notes. 


Turn  of  three  Notes. 


m 


m 


3*t 


^m 


Abbreviation  of  the  Turn. 


EFFECT. 


When  an  abbreviated 
turn  is  accompanied 
by  one  or  more  ac- 
cidentals, they  are 
marked  over  the  sign. 

* 


±± 


EFFECT. 


n 


¥ 


wrier. 


B 
MINOR. 


tft 


?^Z£ 


t*= 


LESSON    XXVII. 


m 


tfe 


# 


;e^e 


=r=F 


B 


EE 


f-f-F 


^ 


?=£ 


^p 


55 


-r= 


& 


L^r^ 


e^i 


s^ 


85 


fg=3 


* 


3 

•-*    3 


p 


r^F 


— ^*      c — i     i — r^ 


fl 


j£s 


S^1 


[?"' 


a     •  x 


** 


FputCS^— —         ***    C±j — r~  ~ff  I  i    W        — 


g£ 


* 


^  _     * 


ft 


"i — r 


«F 


^FPFrV- 


s 


tor 


pfffrtf 


gg 


TT 


-T^*-*r7-iLr?-^iL^-?*:f--g-F 


—  SICILIAN. 


Andante. 

5  ^na F  rl    <  ~~l 


38    IX      2 


-8- 


"i — r 


"-r-r 


Count  six  quavers  in  a  measure. 


g£fi 


*£ 


iszzz: 


f  f  f  f 

1 b — 1  w 

t  •      *      W 

^     •  V  0»or«TTO. 


* 


5: 


ft: 


j *  

g£5 


'-ri 


«    x       1 


i  p  r    t 


:#' 


» 


d=5 


^B: 


Irr^ 


HS 


£=5=£ 


* 


^3j  1? 


s: 


i — *- 


iS 


^=x= 


^ 


zr=3!ZirzF 


i      __. x 
'~g — 5~l 1- 


>4 *4— r- 

3 


«1     *3  »L-J*      3  illl 


F 


"»"  ai»; 


m=£ 


r 


m 


h*. 


^-'Hfp^-^ 


T 


? 


fc*® 


£*£* 


"I — r 


£U 


If'  »' 


£ 


P£F^ 


iij-fr  jr^a 


^^^^ 


3 
X 


Turn  indicated 
by  abbreviation. 


£=£M< 


3=F 


e 


»ns 


ni" 


-r^-- 


3E 


S3 


4 

1 


ztzxzzrjza: 


E 


:M^- 


CF7- 


i    X  X 

i       O.       1i 


2     A    2    3        "r 


^ 


S3: 


STUDY  XL 


Andante 


1 — M — i —  I — i —  i — ri — r~l — r 


-^-P-r^fVFtFFTitE-  -f-P-^-p-j»-F-F-r>-rf-r- 

"i — r-r-  -F— i— I — i~i — i~l — r  i — i — i — (— I — i — i — rT~ri — r~ 


Countfour  crotchets  in  a  mearwre. 


^ 


5& 


3£ 


"_s: 


-<s>- 


L-x-JL-x-^- 


-«- 


All  the  notes  thus  marked,  A,  should  be  strongly  accented. 


f      ,     A.      ff»  j 


I? i~f  i — m — m — rrr 


,   A9     A 


ft 


TT 


?*?= 


TT 


si 


;i 


-*~- * 


A. 


£ 


#     A  £  _  1    A  m     -p- 


gEE^ffg^fffJIi 


"i — rrr 


95 


1                   2        -ft -    -ft 
| jf      y  1  y  j — p — j [x —       1 


i — r~TT 


m 


Ezifiliifcl 


J 1 


t 


r  r 


r~r~i — i   i   i   i   i   r 


-*— ■ r«- 


x  i  x  1  x~l     P    1 

fff  rrffff4f 

~r~r"i    j^rrr^T-j    rjr 


ja2: 


-<s>- 


S^ 


T 


•3: 


Sr*1 


ji i. 


© 


^ 


TTTTT    1  T 


1  ./l- 


^3 


E 


£ 


p  p    i 


ffl=ffl 


_L 1. 


»      -#-^ 


*frl> 


-£ 


ffgffffl 


1      1 


4 
4L  4L 


ffis 


pg 


n — i  i  i  i  i  i — r~r 


li    ii 


a 


121 


(S>- 

S: 


p=t: 


r# 


£ 


12 


i 


4L4L 


P_ p_[=:=: 

US 


?=Hfffl 


FEE 


yPyfyr* 


PS 


m^EKa 


otui 


fflS 


£ 


as 


EFF 


aa. 


BE 


-<s>- 


:£ 


-»- 


a: 


tS: 


«: 


tS«rx: 


!  -f--f- 


-P-  -P- 


p_P__r r 


* 


— rrrrrTTr-r- 


PtpTpj  f\  p  I  f 

— r~T~T~T"n — h~ 


•o- 


g 


»f#rpi  <»{■ 


i — r  i   i    itt 


:FT 


"i — i — i — i — r~r~i — r~r 


Sl 


UJ  LL 


■#t-p-hp4- 


1 — I — I     I    I  T 


□ — rrr 


4- 


f: 


2    -P-  -P_ 


**ff 


H»    Pi  P~ 


sm 


Is?' 


# 


*- 


£ 


■ffuf- 


gin 


21X 


-C9- 


f 


(1) 


E-££ 


Tj rr- 1 — — ^V"  ~i — r\ — *V~ 


~i r 


4X2  X 


nr»  i»i 


rr~ — ' Si-"  ~i — i — i — rT-T~rr~j — QQ-  'LQ — rr~ — r~ri — rrr 


m 


r 


i 

4 


rrT 

rrr 

4X  1  X 


T 


£: 


(1)  Th«  triplets  in 
the  treble  must  be  exe- 
cuted according  to  the 
following  example,  to 
make  the  movement 
equal  with  the  bass. 


3— 


i=^ 


Jl 


96 


LESSON    XXVIII. 


H 

MOTOR. 


Hfc* 


«H^ 


*s2E 


P^gg 


E^t 


r 


3Z3j*28t 


rt 


iE33 


::i 


^^p 


Hi 


*«_- 


i»^¥ 


^ 


~r 


<£T 


ffij** 


fc M 


_X 1 


n: 


m=i 


1 — l ^-f-g-j—; 


gpgl 


a — 


ff  H    *  JLJL 


r£ 


!-3: 


i — i" 


QJprfnrjrTzg: 


Il_  ~Tg — #ff^TTr~     ill    I — r  i    i  j     ~ i — !~qfp — *»~2 — r 
1 ^ '^^n 2_g_5_3 — ^-^-j-^ T**C —     x  a-iy 


-f-f-P—f-f-f-f- 

i    l    r         i    i    r^ 


"i — i — r — l    i    i    i 


EPP: 


=E£ 


^> 


J — I" 


r3z±a: 


— i    i    i    i — r-f— izs ' 


^pt^-pppc 


lazizaza: 


=3 


l_ 


^grr^r-m 


i    i    ii j 


r# 


t'^gffrit  ■■  frtcfm 


j_ 


T~r 


S 


t  ftr'r 


«z£z«l:£: 


yrrrt 


F=pts: 


1      I      IT 


~i — i    i    i.    r 


•  m  ft  m  *  m-*  m 


"( — i — r 


"i    i    i    i    i    i    r 


Wzm 


ES333; 


Bg^j 


4    3     2 


L_C 


#< 


U'*JJJJ^g 


& 
If 

a 


i     _  i i r 


zqrnij    i: 


:s?z 


r 


EXERCISE 
PREPARA- 
TORY TO 
THE  STUDY 
OP  THE 
TRILL. 


Allegretto, 

— 8"7»~'l~rT"i — r  rri — rr'h n* 


Hr-# 


x: 


*=FEF?=FEw-0  U0- 


'i — i — i — r 


KS 


as 


:r! 


-i — i — M    i — i    i    I    r^r~     I — r~i — r~ 


s>: 


P-t-tZ-^-PP 


•g: 


1 


21 


"1&~ 


*■ 


*=Zfrt=^T^^ 


zg:. 


^^^-j^^^r^ 


-<s>- 

-<s- 


«- 


it.:*    ■ 


97 


STUDY  XII. 


Allegretto. 


,#-#- 


_? 


,....3 


ssEfePg 


i})p 


m 


> 

-0-      f 

-# — 


S: 


xzz 


4 


3Q 


r 


> 


MZ3d£3 


r~r 


:sz:x: 


zz..sziiz?zjM 

^=_z?_ 


3___3 


fe 


IZZ 


:*zc; 


•*-»- 


___3_i 


h^ss 


r 

-f- 


:i g 


1 1 — r 


r 


!fe_ 


— r 


E 


.gzzztBzzr 


~»~ — r~r'^r~i~r'^i        rysj-n^^-iav  --pis      ~rv 


:_z?_z?zEz 


T      r 


4 

2                 _| 
f"l 1" 

"TV   [••       I  i* 


"» — g 

I       B.      ~   »t  >»• 

■  i       •  i  r« 


z 


£>-«- 


I     r  i 

x  ft  i  i-gn 

2 fl 


g I   >*_ 


JZ 


:j==S 


^ 


3 


P 


fe 


SfpEE 


z  t_zt 

w   I  w  j~r- 


g 


4 
4 


J551-P 


r* 


3* 

z> 


4z~      ezzz 


21 


*• 


T~ 


m    E 


r  *      r   » 
i — r — i — i — 


•    ■  1 

(i) 

The  first  note 
should  be  accent- 
ed, the  second 
unaccented,  ac- 
cording    to     the 


(MM— faWP-Ka 


K:zzz** 


aj — #3- 


_:« 


glggl 


-w— *. — 


•^fT-#S — 


:P-^ 


lz: 


z, 


-r 


z±zz>- 


iz|«ZLfzrz^3^z^-3 


b#  /  £ 


T~r 


>    T, 


1       * 


3d 


-frF- 


£: 


3EJE33 

i   i    ri   r 


3 — 

.   irsr 

."TTIL 


IZZZZEZET 


ztj"* 


zzzj: 


"i — e 

1     r 


5t 


__ 


„.*  13  1       3        1       „ 


:£z 


f*z*r-]V 


_s 


— i — is- 1 — -n-i 


iife 


:«: 


z£: 


HS- 


-«7 


■F— #- 


L  4  4  4 

x — i- — f^-p-*   r  x — I 
Tfgy" 


2_X 


zee 


^ 


■»     r 

r 


EE 


T~ 


S?zz54 


^Z^dTZ^Z1 


:»zzz:#zz 

"i — 


:zz 


-x--a— g=V— rf=^— ^~ rf-  f-g<~^- 

HI SIr!-t»ZZ^LZrZ5" 

— 1«_. 


ZZlfzZZJ 


e^^i__p: 


a    T~  T 


r 


I TT; 1 


J      I     TT   "T 


Z 


T" 


EE 


.» 

J P*! 


£ 


l     Z 
1 


S 


^ 


zii^zz: 


=F 


3jr-^-«*-^ 


£ 


m 


TSZE 


.zifzb: 
Ezzd: 


m"f" 


Lr 


•g-y-"!  .a~< 

fcfS3 


:zzz_ 


_r 


"T 

x 

2 


-#• 


£F= 


:3zzz:2zxz" 


i 
a 


S    1 


-#» 


K- 


-r-'rzrf 


n-^ r 


if" 

3 


-i — -'c; ; 


31 


i-t— m~ 
-^->-* — 


czc 


ZZZ-'t 


o 


98 


Position  of  the 
Flats. 


s^zfe 


life 


izi 


The  first  flat 
is  always  placed 
•nB. 


F  MAJOR.  < 


§| 


The  first  flat 
is  placed  on  B, 
the  second  on  E, 
the  third  on  A, 
the  fourth  on  D, 
the  fifth  on  G, 
the  sixth  on  C, 
and  the  seventh 
•nF. 


LESSON   XXIX. 


™  X  **^ 


Si 


^3S 


JET± 


^5- 


BS 


f  r r J/Jl ; 


Fingering  of  a  Scale  or  nine  NotM.       4 


EP 


"I — r 


fo-f-p"j-5 


^f 


x 

Si 


^Sgzc5Eg 


Lento. 


5&=£ 


I^M 


BE 


(i) 


fgSE^gg 


#  P  M      r~~ I    P 


-ritz* 


S^f 


—j»~» IS -f>"Bij^ 


:s: 


-©- 


E-F£&=fe^ 


* 


1 — I" 


xZ^jtzj: 


Si 


fly  Exercise 
for  passing  the 
thumD  after  the 
3d  finger. 

Be  careful  to 
avoid  any  move- 
ment of  the  hand, 
and  do  not  raise 
the  3d  finger  un- 
til the  thumb  is 
ready  to  strike 
its  note. 

Observe  the 
same  rule  with 
legard  to  the 
thumb  when  the 
3d  finger  follows 
it. 


Accent      the 
principal  note. 

Piano.      Forte. 


ifm 


Forte.      Piano. 

in 


4 

>-F"f~F~- 


pSpaH 


iE 


v- 


3C 


1-i 

4 


? 


f?: 


*  «-     -P.~r  I — C         #   -        3 

.f-ff  Ettt    "-F:r-r-P-   .,    3 


3        -        »  "P"i — P~ 
~iP~P~r~r        i    i    i    r~ 


,r~a: 


•   m         3         v 


-I    i         r 


pff= 


"r~i — r 


*=35^ 


m 


4 


^ 


^^^g 


ffi 


i==I=i^=f::^-^-  =3=3H^i-  3B31 
'E — *~P~r~r — i — i — I — i — — *~*~3 E3jk3 


ISE^ 


prfl  Trrf 


F  MAJOR. . 


££^ 


~C~T 


— j-^L. 


If^-Hitizj 


"O" 


IS 


1  9 


£533 


r*=^= 


-<s>- 

~ »— 


'--¥$- 


r^i 


1  9 


18=5 


v 

:s?: 


-<s>- 


■  1       1 1- 


•c;  *  * 


S 


V 


— TT  — — —  ■ 


-<S>- 


WAI.TZ. 


Allegretto,  a     | 


~r 


V-Ml 


m 


r_ 


l 
_X_ 


4 

I 


I 


^ • • 

w~  n — P — P  " 


"i — r 


-# — # 


r 


r 


:r: 


s~c 


s      1 


EiEi 


o 


be 


£ 


EIEEE: 


X 


-p- 

"I — 


1 
_X_ 


4 
X 


'i — r~ 
l — r~ 


f=r- 


4 
1 

:zp: 


4 


EBE 


! 


i 


v&— 


%?- 


T~ ™"l 1 


-h- 


1 
3E 


*• 


## 


/ 


S=S3 


33 


TTT 


6E 


&l- 


; — ~p-y 


4 


E 


p 


±E 


~jg  i  i  r 


3 
(ff-#    # 

— rr— r 


~r 


9- 


£: 


r- 


-g— £ 


H  ■'"#' 


2 

US 


E?3^ 


SI 

r 


4  4 

2        •  12        1 


"i — 


i 


T" 


r 


r 


£ 


£ 


t~ 


4 
X 


*s>— -, 


STUDY  XIII., 


Andante  quasi  Allegretto. 


2#: 


:t 


XfS>- 


^ 
-*-—*— 


■ttjfc 


2 


X£?- 


:x#: 


m 


-**=* 


=«=i=iC 


E 


-iS~ 


PS 


-**- 


"X" 


4fc 


■*»!•" 


-e — ■ — a- 

n 1 r" 


£=*: 


T~ 


of 


— i;. 


*»- 


^ —i 

f — x* — I 


::?: 


T~~i 


£ 


^ 


xs> 


xs 


:=SE 


:x»: 


azzs 

-DZZC 


*-^FF E 


2  18      14X4 


100 


i — i — i — -I —  —    1 — — i — h 


r- 


fyfff-  k.+0 


(i) 

Rallentando  , 
»n  Italian  word 
which  implies  a 
gradual  diminu- 
tion of  time  and 
tone. 


(2) 
Tempo    Peimo 
signifies,    in    the 
first  or  original 
time. 


(2)  Tempo  Primo 

4  I 


4I> 
I 


-  -F F-E    EFL=R^-== 


LESSON   XXX. 


The  first  two 
flats  are  always 
placed  on  B  and 


P 


b\)  major. 


*  m  -0-     -f~  -0  -  m        2  x 


:F-~ 


3 


iggegr^pd 


» 


i  x 

— i — i — 0-^0  ^ — 

^^     t   i     i    i — 


t 


X 


J — r 


rr 


##  -ff  ■ 


"i — r 


~y-p^ 


+-snrf 


±JL 


tz i — i — r 


&SF 


-\ — i — i — r 


£ul 


tzw 


0  m 


Zfll 


&^m 


-^Td-JT¥ 


ZFW=3 


S 


rTTJ  J^-^ 


tzf: 


s 


* 


• 


-x— -, 


r  ?  ?  FFF>f#- 


"i — i — l — r 


"i — i — 


•#•#• 


£•  :'  0  *  0 


i — i     i     r 
~i — r  'i ' 


"i — r 


:i — i — r 


"ff@: 


2 


e 


r— r 


0  ^ 


■f— i— i — i — 1 1 


i    i    i    i      i    r 


& 


3ZXZU 


101 


J7~"jzsz~a 


?^a^ 


#?1        2 


:r~cz    r 


i     i     r 


1    X   1 


fflf^g 


ffi 


ssa 


"2~3    2"  3 


-*-a-3- 


Hi' 


S-fr 


a 


sfe 


JE!E?EE* 


Eg 


»—-*-# 


-p- 

"2" 


s 


3SE 


£=s 


*=& 


Tl 


1++ 


m    m      »    m   °    a 


j-g-p-g— P- 


r- 


i — i — r 


P 


J — i — i — i       i — i — i — r 


^ffi^Bg 


CTT 


^^m^ 


m 


12     3     2 3_ 


ffl=ffl; 


BBE1 


~i    i i    r 


~i —  I  i  n 


EffiE 


izfz#: 


Allegro., 


W 


BE 


re 


IPp 


1      x 


« 


•It 


:»  P 


»  P 


"i    r 


Us: 


S 


5- 


^ 


*=f- 


i    r 


—»• 


^E=£ 


^r 


& 


_£2_ 


SET 


;?E£ 


"#~a — i — i" 

2     ,     * 


'sr 
l 


~f~  *~a~i — ESS 


3* 


~ci:e 


P 


102 


Allegro  moderate. 


STUDY  XIV. 


(1)    Abbrevi- 
ation  of  the  oc- 


0 
8 

A  figure  8, 
placed  under  a 
note,  signifies 
that  the  octave 
below  should  be 
added. 


MM 


(2) 
When  the  fig- 
are  8  is  placed 
orer  the  note,  it 
signifies  that  the 
octave  above 
should  be  add- 
ed. 


X    1    2    3 


14X3 
X    1    X    3 


4X2         X    S 


5= — ^~P- 


T 


i r*r-| 


"I — I HI — T" 

II      I    ■ — ' — I 

4X2 


E5E 


* 


f=E 


i I I 


~\ — 5^ 


-# 


*** 


J2L 


? 


I** p 

'i r~ 


2EEEEE 


*F 


*£ 


£— E 


:?!»-£ 


i — r 


"i    i    i    i    r 


i    i    I        "<r"      w~^ >■       i — i — i 


£ 


£=£ 


■■—-F—F- 


^ 


p 


X     1 

7TT 


3    X 


g; 


^rf-f-^ 


n^TT"n-r-f-«-T^-f 


3z^-f 


"i — i — r 


f P- 


3*3 


HWfcKfci 


1       !       '       I       ■ 


I 


I    F    r 


"I — r 


f 


*rry$rT^=*m 


i 


f— f- 


:^PCT= 


i 


F^^F 


I  oa 


(1)  Crescent* 
signifies  a  grad- 
ual increase  of 
sound,  from  soft 
to  loud. 


i    r-       '    ■ — i       ~ r—  —  r~r~r~ r~     '    '  -■ — ' — ' — i '    '    '    '    ■  -| ' — r~ ' — ' — ' — ■— --■ — < — *-■ 


f 


EEi 


g-r: 


* 


Tg- 


£ 


I=?: 


p 


s>- 


E 


mm 


(2) 


& 


®- 


>*£EtEEi 


~i — r 


Diminuendo. 


4B- 


9- 


£ 


lS>- 


p 


^J. 


24 


V  S' 


X— #-* 

P  f  #  1      f 


"I      I — f 


P 


Effl 


j — r 


(2)  Diminu 
endo  signifies  a 
gradual  dimin- 
ishing of  sound 


/  v  l         I  X  0'f- 


4L 


104 


LESSON    XXXI. 


The  first  thre<s 
flats  are  placed 
onB,  E,and  A 


P^te 


ii^lSlls 


g!ii3EBIEE 


siri 


1     l     I  ~1~J     r~~         ~1  i 


1   s   1   2     1 


&=# 


g-rf 


a 


^fJ^rai^^ 


?5=ffiS 


cZtt^-t-t-f^^f- 


~i — r 


-F 


23    2  3  2  3 


3*2         a  * 


t  000 


rii^feliii 


SpHii 


eft 


S1^ 


^^^ 


#     *~5 g 


act 


3^ 


2 


105 


S 

i 


i 


*#£ 


Aria. 


Andante. 


a 


S3 


Et 


e^ 


1  4        i  * 

X       *  X 


J a 


sw^rvj 


a 


4  3 


!  f 


nt 


f1 


~! — — I — r 


2   g    J 


:?: 


-.Q 


-#-•- 


"f 


3  S 


U~ 


& 


i    "t 


i 


I 


T 


T 


4 
X 


^3=f=p=fc 


-^--» 


I      r 


£ 


4 


T 


1>SX 

bf|»--r-    3      3        3      3 

T- 7— 


1     r 


T 


I       1 


#a//.      (1) 


-* 


M 


g 


xix 


T      r 


TT     1     1 r^  r 


t     1     r 


a2 


D.  C. 


(1)     EiLti 

abbreviation 
of  the  word 
Rallentando 


106 


(1)  Accent 
■trongly    the        STUDY  XV. « 

four  beats  of 
the  measure. 


>    '     > .?, 


SKP1 


(I)'/ 


§5 


s 


i 


pspfP 

-  -•» — Trr — r — r~  "i — ■"■ s- — 


E=E 


g^^^&S-  > 


£ 


-r — f- 


i 


-F— F- 


g-fc 


* 


i 


■S 


a 


£: 


«•- 


E 


£ 


K 


1 —    i^^ — ■  i  ni-- 1 — h — |    ■ 


^ 


at 


+22 — b"» — ^H — i — i — 


J 


Jfe 


#2 


4'- 


% 


J     Ji 


* 


-*> 


^5 


i 


I 


p 


■f F— ; 


E 


£ 


£ 


EE 


\ 


S5 


£ q#£ 


£ 


£ 


~j> W 


S 


*         »         «         » 

-J- -»-       -g-      -j»- 


£ 


y=F 


H r 


s 


,Efc= 


iP 


s 


:fc=: 


-(8-: 


Si- 


£££: 


*  —  * 


2 — u- 


•^ -^-f". 


* 


=CSF 


-*£ 


X       3    2       1     X 

/ 

— «? 


"i     I     ^     I     ZEZEI 


r~^-~ — ~r~i — ~r 
1     ■    r~;y— r^-r 


E 


i 


£ 


x 3  2 


fiz? 


:Pqp-*feg- 


/ 


H&   — 


107 


lg 


tf^g£g 


^-sf^^-fh-  ft  f}  f  85 


L 


* 


i 


i 


is 


^ 


£ 


fc^ 


S^m 


dt=f± 


=^S 


f£= 


S3 


£ 


-F — F- 


i  -  r  p.  .  n 


P=F?£ 


-4- 


% 


£ 


-# 


*—«-#• 


B 


*HS 


s 


azt 


'[ — ^r 


L± 


(i) 

Dim. 

Abbrevia'ioi 

of    the   won* 

Dirrinuenao, 


108 


LESSON    XXXII. 


The  first 
four  flats  are 
placed  on  B, 
E,  A,  and  D. 


feZfcZ 


0       -f 


MAJOR. 


J&^^Pg! 


f^ggE^^^ 


+L0  2__ 


t¥ 


H 


t=s 


^ 


m 


w^rn 


^-r^:-: 


PIP 


1 — 1_ 


T-a— 


i   'i    i 


I 


3**¥3 


s 


** 


af 


»b 

MAJOR. 


^ 


ISfe^ 


2 


[EEI 


^^ 


e 


:£S*^ 


T~r-\ — brr~i—      *~P 


-■* 


"l — r— r 


^"iS8? 


j_-t«. 


i     r 
i — r 


t 


-i— M    '  J^»'     l**«Lj== 


ssfigS 


i — i — !• 


s 


^^^ 


100 


frmr 


IziL 


£ 


m 


^^fet. 


**= 


ai 


I 


i     r 


s 


e£t 


5 


^£ 


E±=MZ 


W4iUP4^^^^ 


f  r  <■  J  J  i 


f-^jg^ 


&' 


fe^ 


_x. 


SS^= 


m4  24  J  J  J=? 


-9-m-m- 


'wzgrr 


S3 


S~7~t3zrnrT- ptJ 


b  V  JJ*J*-4 


^SffiS 


i        i    rn        rip 


x  a   i   x  2   i 


j>  j  jy  J  j.*y 


••J.'.dJ.fdJ.*1* 


Ij^S^p^g^^^g 


9^T-3^i 


ffl3 


"^r 


jStj 


3    3 


2    3 


EXERCISE 
PREPARATORY 

TO  THE 

iTUDY  OF  THE 

TRIIX. 


Lento. 
(1) 


1   x 


JSJffliXJa.J2S 


iP5 


-<s>- 


<F£ 


SMJ 


-s>- 


fit 
3: 


•ZZaZZZZ  ZZZZZaZ  ZaaZaiZZ  ZmZuZZ 


Take  care  to 
hold  the  serai- 
breves. 


2    3 


2    3 


2    3 


2    3 


( 


2    3 


2    3 


fa 


S5 


^htfZTM 


£5  l"3"T3  J"J1"3.  I 

g  j  0—mzf-m  *   *  *  0  *  \     d~ 


3 


£ 


^=F 


^r g: 


2 
_X_ 


is: 


( 


V-*-JL*- 


JL  ^.1^ 


-^ 


?    i    r 


b2 


£ 


22: 


~g~ 


-fi? 


221 


STUDY  XVI. 


0) 

Lxogiexo  ; 
with  lightness. 


Aftegro  moderate. 

g  R  2  ^ ^ 


i~±- 


^* 


IS 


(1)   Leggiero. 


i 

4 


£ 


i    i    '    i    r 


i      s 

4 


^ 


S 


fes 


fen 


e 


^ 


s 


£ 


f 


U-h ^=g 


>r& 


BE 


2 


-it 


£ 


SiS 


g-  :-' 


221 


£ 


2 


5= 


;=?=£ 


i  i  i 


i    » 


g^ 


1 


SF^FI 


I— i»- 


•~i — i — r— i 


■^m^ 


fe* 


£ 


y^ 


L2 


£ 


tr 


A 


B 


^ 


-4 #- 


£ 


«#to$ 


rfrrTfc- 


3TT3 


-| — rrr 


Li 


£ 


fewSS 


t 


-s*1- 


| 

JL 


izzfez 


P 


^^ 


p 


m 


Fine.  j-j 


TW- 


£E^£: 


« 


*!*=fq 


"i — r 


/ 


^^ 


f»— *•—*#- 


£ 


^g=? 


i — r 


** 


H 


«f^f-*£ 


Sz&zqEEE 


S 


£ 


83         « 


^ 


-#-    -#-    -#- 

-» — » — »- 


•F ft 


-• »- 


i 


D= 


111 


m 


^^ 


* 


p-rP-m 


^- 


mz 


& 


"I — r 


is! 


-fr    #■    £ 


q*-  *  -*- 


£  f  f 


-» — »- 


S 


#--»- 


*F» » 


**= 


fa 


fcxr^ 


:' 


dim. 

. x 


ft. 


~i    i    i    r 


..q:g-__»__j: 


§&e!e^ 


v — g 


g 


izzn 


I 


S 


^E 


£ 


Si=i: 


U_. 4_ 


siih 


1 


(1) 


Izfez 


pufl 


S 


£ 


i§ 


P=t 


»fl 


— r~r"  -i    I      i 


^ 


£=E 


£ 


«HF 


P) 


Change  the  finger 
on  the  same  key, 
without  repeating 
the  note,  support- 
ing the  hand  by 
the  4th  finger, 
which  must  not  be 
raised  till  the  key 
is  filled  by  the 
thumb,  without  re- 
'£{       peating  the  note. 


The  same  rule 
should  be  observ- 
ed in  changing 
from  the  thumb 
to  the  4th  fingei. 


D.C. 


EXERCISE. 


Moderate. 


X 


4X 


& 


w 


"XT 


£ 


£ 


X4 


~5X" 


? 


4 


_*.X_ 


XT 


£ 


fc 


X4. 

3E 


"5X" 


^ 


112 


No.  6. 
Andante. 


MELODY   FOR    FOUR    HANDS. 

*.>      il  i       *JL  x       i^ri. .  at  h_ 

-^F-p     .-Fr^     .Fr^     .fHp-T 


*   A.tf--F-*  -r1  £  ^S)- 


PRIMO. 


STECOXDO. 


8m. 


/oco. 


Fine. 


Fine 


zc 


« 


^ 


3 


1*1 


£ 


g: 


P 


fc£ 


i         I 


a 


i 


a 


zjzz^zzi: 


±=* 


-# — •- 


r— r    r '   I  =Fz:F 


-F-F- 


:1 


I 

— m •- 


J 


3Z 


r 

fibt 


-F 


^=F— F===t^r— F=? 


8tw. 


4    3 


7 


F 


EXERCISE  ON  SYNCOPATION. 


Moderate 


TTT 


till 

x 

r-r'r"r'i r  '  r  ^rrr 


-jjita 


~yi — i#_r-^ 


1  "  i '  i 


td — i  t  r 

i — □ — r 


£*-£ 


:^FF 


-X 


^r- 


T1 — r 


:F=F> 


ktT=^ 


-i — i — r 


1     2 


■  4  f--t#  *  * 

"i — ri        i    rn    * 


.-fc.    £ 


-JH-* 


tzrzm 


1 — I — [ 

~r~i — r 


~  f~B 


113 


Practise  this 
exercise  with 
care,  and  give 
each  note  its 
full  value. 


^-ff^ff^ 


114 


TRILL. 


Begin  the  trill  with  the  principal  note. 


tF 


B 


is: 


B, —  principal  note  of  the  trill. 


TRILL, 

(In  Italian,  Trillo.) 

Improperly  called  Cadence; 
An  alternate  movement  on  two  notes  in  juxtaposition,  indicated  hy  this  sign:  — 

«r 

0 


Effect. 


Lj-UU-Ufeh^J-rfr^ 


1 


=f= 


'ill 


A  trill  is  either  minor  or  major,  according  to  the  mode  in  which  it  occurs. 
Minor. 


Major. 


f=l 


-• — 0- 


SCTS3S3 


m 


■t 


There  are  several  modes  of  terminating  a  trill,  but  only  two  may  be  considered  as  strictly  proper. 


ANCIENT  TERMINATION. 


i 


^ 


MODERN  TERMINATION. 


* 


All  other  modes  of  terminating  the  trill   should  be  considered  as  having  their  source  in  the  taste  and  pleasure  of  tha 
performer. 


EXAMPLES    OF    TRILLS    MOST    IN    USE. 


115 


TRILL,  WITH  SIMPLE  TERMINATION. 


£e£ 


fcft 


TRILL,  WITHOUT  TERMINATION. 


EmMJi&m 


m^&m 


23 


a 


I 


4 


frvvw 


a 


I 


jt 


B 


^ 


* 


TX~ 


t: 


-<p- 


321 


321 


Ltll 


T»n. 


Ti     3 


DOUBLE  TRILL  IN  THIRDS. 


IN  SIXTHS 


-»-<s>=3 


EJzsaz: 


g£ 


Txir. 


IJBLJ.J. 


3?: 


-fr 


3d        * 


n 


u 


i 


3 


fi 


* 


BEH 


a     » 

Hi  n 


s 


& 


^a^ 


:£ 


3?: 


Tin 


Tl!.. 


HSTTECT.     - 


KXBRCISK 
OH  THE 

THILL, 


fcS= 


_fcL 


Count  four  quaver*  in  a  measure. 
tr. 


5 


ei 


s 


=r 


3?_ 


—  s> 


s- 


£ 


Xl  23 


see 


*-*—H 


"jrr 


xb« 


i 


±L 


-4--W-- 


Si 


83 

tr 


fSL. 


# 


"i r 


fcB 


R=i=i 


Pfi 


Efc 


23 

_tr_ 


jP  f 


m 


:= 


S3 

_tr_ 


^ 


ft 


a 


mF 


£ 


*H '         _■  ' 


* 


=3=F 


Jx, i*_ 


s 


^arr; 


■V 


? 


3: 


23         1  x 


t^fe^ 


& 


^ 


^ 


3ie: 


Si: 


T2" 


*£ 


£ 


,  3~g: 

"J>\    L 


-*-       a 


a 


-k4-n« 


X  1  S3 


a: 


3 


335 


iVTocfiilcaiion 
frequent  use. 


tr 


I 


*=m 


Bad. 


116 


The  trill  may  also  be  used  without  termination. 


Example. 


'^z^^x^^^^-U-J:^. 


I 


Always  begin  the  trill  with  the  principal  note. 


?^s 


Principal  note,  —  C. 


Sometimes  the  trill  is  prepared  by  a  grace  note. 


TPw 


I 


* 


i — <s>- 


X        tr. 


#»- 


m 


The  fingers  may  be  changed  when  the  trill  is  continued  through  several  measures. 


Example. 


_X_2._L 


X    3     1     2 


■f^^^^^-rfr^^F=f^=^^frf-rfr^ 


Begin  the  practice  of  the  trill  slowly,  and  increase  the  movement  until  it  can  be  executed  with  rapidity. 
To  facilitate  the  practice,  it  should  be  divided  into  actual  notes,  and  the  time  marked. 


TEH 


p=^^^5^ 


— H 


^^^&=3^^^^i=f^^^&=p 


SBPI 


Note.— When  a  trill  accompanies  a  melody,  the  notes  which  form  the  melody  should  be  played  with  the  principal  not* 
of  the  trill. 


EXERCISES. 


117 


M 


*£=& 


~JSL 


fffe 


Lento. 


£ 


®^ii= 


if: 


-<s» 


-o^ 


tf'V^^V/  f 


* 


£: 


GL 


5^*  Wi  r. 


m 


-Gt- 


~#" 


£ 


»T~  !5" 


fr-, 


B — r 


z^zz^ze 


3=E: 


ESSB 


1 


:s?i 


-^— ¥■' 


-yS>- 


T~ 


£ 


5£e£ 


ifefzi: 


EE 


3&QE 


Allegro. 


S 


Qj — g 


S 


=d= — ^ F=T 


EFFECT. 


Fp==   Iee£^  xfe£=s   i  i  i  i  i 


ggbrfzzEE 


=2 


¥ 


:f±3 


f=3: 


:»: 


^: 


£ 


£ 


Allegro. 


tT'VW 


gs= 


IS 


ffiSffzaEB 


3: 


Allegro. 


-F- 


23 


s 


-H- 


__A-r 


ra— i  — 0- 

~r: 


21 


:;: 


£ 


n 


21 


~SJT 


9t 


A 


A 


1 


A 
2 


A 
3i 


XI 


Andante. 

-Hr-4- 


-t 


Aba  ^  ntf  a. aa  cifi  m  tm  tm  i  to  jjdtiJtlutttiBi 


Xi 


Xi 


118 


The  first  tiva 
flats  are  placed 
on  B,  E,  A,  D, 
and  G. 


LESSON    XXXIII. 


P^i^^^^M^j^^ 


*-f-fc 


±A 


i§H6Si 


IT*" 


O) 

Hold  the  note 
on  C  while  ex- 
ecuting the  trill. 


(2) 

Doable  Flat, 
bb 

A  double  flat 
preceding  a  note 
lowers  it  two 
semitones. 

A  double  flat 
B  is  the  same 
u  A  natural. 


bb*- 


t=S 


EFFECT. 


Db 
MAJOR. 


X- V— _•- 


^  ^Plk 


SS 


hir 


ig3? 


A 


mx. 


& 


Jt'rr* 


FF 


« 


=* 


5fe 


[gar 


& 


&E.\ 


rt 


IP 


Ss 


^§ 


ffi 


s^P 


3E 


x 


i  i     x 


fez 


^!_2 Z 


£5 


a 


:a^ 


W^p 


m 


5? 


x  ix 


«H 


>: 


:^ 


j    r 


2  •-  iff  -• 


e 


"i — rr"r 


rffft&r 


§^l 


23ZI 


iSJSJj 


ADAGIO. 


T=3,=r 


pmm 


STUDY    XVII. 

Andante. 
Maestoso. 


Ben  marcato  il  canto. 

.  _. A A__ 


119 


-kr- 

AT 


Religioso.  I     I     I     l       J     I         I     I     I     !><>'>' 


— S-b-ir±-t— tizztz: zfczzz  --F-t— t— -HS-E 


* 


:fc 


i: 


"51^ Z3 

-t  I zpz^zp  7:5^: 

x  »-  -p-  -#-  -»  x  »-  -»- 
i I   J I I 


»  p  1 


— ozi 

i    1    i    i    '    i 


*-»— •—»—»— ••3»-  -»-»-6 


ITmW 


*0-0- 


p  ll  S  w  P  p 

i  i  i  i       i 


*tt££qfcfc 


gg,ff  ' 


zzriL-Kztzc4=4z25z:srn^i^:pzpzM-"xr4=: 


±* 


fl-4 


KgES 


S*  -«££ 


___ fzcrai 


-$»—»- 


-r— r~r~r~-tx~i — 


3      4 


x~r~ 
0000     •    • 

ftff  p~w 


I — IT— _ 

rzznziz 


x 

3' 


T 


■-^— «— ** *-  I       n    ;       IX  | 


E:S 


T 


-J- 


3 


4    2 


£3 


i    i 


— r — i     r — i — " — 


~5T 

4 


*y  r !?  f^p 


iilirV  r~~or 


•  'ffrf 


iLLjfr  »  »  » 


-fZjZZ 
i i    r 


JL 


■-  P  p.x — 


r  r  i  i 


-| — r 


.2"iZOi"  JC 


T 


41  4  1  4  1 


V-,   «-^ — «■■«■«•■«— -. 1       i      1  — I 1       r— 


5^ 


^ 


T7  >  p 


X#~#~ 

r    i 


l^jbyq^fc^  I^TfT? 


& 


.i^:^jr-_fi?Lf: 
fr  yj>.  p— p- 

i     i     f 


B 


I     I    ~i — t — r 


r 


JL 


It: 


1   I   La  I 


^-p-pS&p-  -m-p-r--m- 

IX  I         IX   1       (XI  I X 


•-  .0.  -A  •  » 


fc 


-0—0- 


'i     r 


ipzp 


•i — x 


I 


~r~ 

3 


•JEz 


'.i — XZ  "~i — I — — .i — 1*   i* 


* 


3 


II  I   It-p 

IX  I 


"i — r 


•     0     0  YJ0  v« 

■p-~P~-P"fp~^lf 

ZZZZZZZ3*    ■ 
1      I     i      Mi — r 


~i— rr~~i — — i — r— r~ 


f  f  f  f  »    ' 


*     >  3  *,  *l  3|  4  *  1  *l  Vl 

&Hz-±-J-\ R—  -; 2 1 —  EfEEEzEp  2=^ £j 

P^^-TtT1^--1  =^==» l—  -t F-=F— "  =5^ -*-- 

i-ta^^^zzizizzz  :3zSz|zS=  ESzTzTz^z  =«3=1= 


S 


I^ZIZIZI^Z^ZJ 


:      4      3         4      3      4      3      4      3 


skj^gj^Ei 


4      3      4 


3      2 


4      4      3      2 


-iEgzdzzTzJz^zzl 


:EP_5ZZ=zzzi: 


5: 


Azi 


EEg^EJ^^Q 


-«— •- 


-#— # 


-0m--0—0- 


:5:i>zjz:2=z::g 


— s>- 


-| — r— :r 


f 


* 


-2~X~"T~X 
3      3      3      3 


2 — x: 

3       3 


s 


-0- 


1Sr    ■ 


t8 


i*- 


'^S 


I         I 


'm — m  ~ r — r 


f  J?  f 


fcift 


-» — * — »- 


^ 


<5T 
* 


I I 


£=?=£=£ 


-0 — 0—0 


-h- 


tt? 


r~\-~\ 


J L 


p    p.t 


iUrJ 


■•-   -»-   -»-   -p-   -»-  -»- 


I 


5  C — p— ■ 

r  r 


*iuc 


T — r 


~i — r 


TT 


f 


f  -   >"   f  •   If-  fr 

I  _J I 


0      0—0  —  0 

0- 


E^ggE^EPEJ 


~&' 


l-l-l 


tt^^l 


-»-r 


120 


LESSON     XXXIV. 


The  first  six 
flats  are  placed 
on  B,  E,  A,  D, 
fi,  and  £.  «P 

MAJOR. 


*   -£  i  2 


fe£ 


312  2^ 


swtijjjyflf 


^^^^^^^3ES3^ 


111}  sr 

_  ■••  9.  -  •••  9.     ->/ 


:zx: 

-<s>- 


2    X 


-<S> — - 


Lento. 


fc5 


«b5 


^^ 


^  '  bJ  JJft 


3  S-!  s-*-^ 


E-fr S^^x g-^  1    X  * & 


r-     x        — —  -Jxt  2*2  xl« 


jJlAfaffraf 


ig?f2*agro£E=3B; 

-i— I — i — — — S^ — ^hU — ^s- 


=t££=£c£i 


P  .   ■■■mi 


^gfilgg 


fSfessfe 


gj^j^P] 


z=dzq-Sz«zfz&M=^^== 


4      4 
1       1 


55^ZP=^: 


3  -  #^ 


•  p^ 


a^ 


fj&G&EI* 


,»-        ii 

-1= +-3 


:ei3zs 


:c: 


£ 


^i 


X 

_1_ 


i=#: 


^ 


Allegretto. 


*s&£==?@£ 


"T 


EEcpB 


-ZB 


^ 

P 


Pi 


CP 


5 


-•g 


F 


«P 


CCT 


f- 


m 


i:t 


tP 


m 


slif 


X 

3* 


tt±= 


IC3 


ff^Lffij^ 


3? 


3s± 


3da 


±i± 


~2~i — r 


£: 


^ 


4 


^piibpii 


I=C: 


ffi 


iz 


3d 


S& 


:«j24 


x 

Jjft 


« 


3E 


£S 


=M=E 


X 
X  1 


3Zt 


^ 


riz 


H 


121 


w 


X 

m       — L * 

3S* 


£ 


:g 


SP^3 


a 


J 


s: 


im 


igs 


X 


£g 


^ 


1    . 

0 


■-r 


—  x  » 


^4 


^^ 


x 


zf^Ezz" 


r 


i 


STUDY  XVIII. 


Allegro. 


5±5Mz3E:^-ME» 


-^ite^^zzt? 

'~n~l  r  I  r~ 


1<1  '**!  gtf 


h 


i —  r  j       — * 


ggE^B^ijsi; 


g^  >.  b  f  i  fip^ 


it 


Same  fingering  for  loth  hands 

-f*. A  Pi.  M  A  '^ 


^ijii^j-gLjiji^ij 


zmzzcszzlj 


»-b?_ 


zzznu 


r— *t" 


flHf-^f-^ 


illlgi 


=fc 


fZBZzI1 


yHM-f4^ 


• 


ifcAfcJE  LIU  1^-4*=^ 


JL 3_ 


fe^zzzi^ii^  _£=]_ffcziz£ 


33£ 


f   t   T 

I^Z^jZ^z^ 


3z2zdz*zhi?zz4Z 


r>         — h ft-. pg jS — — ft [V- ft B ft 


s 


t~h: 


Tj*Z1 


_f  _f- 


■*»- 


^=5^=iB. 


fcs 


5±* 


tfc 


3=3=3=3- 


1 


faiwte 


2  ?  4  2  f  4  ?  2 

X  *  X-X  X  #-X 

— »-f — kg a a ra b a a b 


1 


-H a 3 — 


"» 


g   I      <^ r"  «i" 

znLrn~~gzn: 


1*   '  I*   Q? 


i. 


~*-sra~srd~si     r"  ~~~T*|~si     )  «i    *!;g:to*       =^~-i~T  jz~»rd~si     •       g — r"*i — ^-sj— n~g- 

zszzizJzDzJzzzgz  1  J  1  J"  23Jg: izzizszzd?  jizzcjnczi: ^3^1^ J 1  fz3 

"f * ? 2  5  a *r-~ ■ 

X1XX.  u-  *  x 


fcfe 


"I (-T        " 


i 


irfzpzgip: 


52: 


-f-- 


-j I i l_t L 


"Bf 

X 

4 


X 

4 


1 
4 


s 


X 
4 


1 
3 


T 

4 


X 

4 


^ e H ■ _ xx— x- 

'  X  x  X  m   X 

) £i_* *_Jt. •__-f-__#_b^ »_Mf- £-_._ 


;  x     i  x 

X        1 


:5 


-i — ^-i— 


~~cr~j~gi 


x^ 


E^3 


=^: 


2  ? 

X  X  x 

_f    jf   _f    .    r^-f~  1P~^- 


^=±^: 


ft  1 1»  n&ifi 


.   x    -   x    . 


I    •r  I ^ ^ 1 

J  X         X  J 

^S^z^E^Mz:  £EBlPz5z»z3=  £3: 

«-^ — ^ g 9 a -Ljj £ a a — . 

e'2 


:tZ±. 

"  1 


-a a- 


ft  ..J — ^-r —i— — in — |fc — |v <^f . 

_a_5la    i  ~i  *l  »»!    l"-«i  mr^\    i  •■    i — g~jg~ ■ 

\p±3pzm~  _^!LJ-Ljp-j=±gi :_ ^-i»-XL-  zzzzzizn: 

E£35pE  :=£=^53^3I  :E3-zz^Ezztzz]i^E 

a  a  a  g -P — • ^ 


ZZZZ—?ZZ-J—ZZT1 

ci=z)=^zjlzDzg: 


— F--8— -Fz:- 


0) 

ill  This  sign,  lq  J->,  annuls  the  double  fla» 


122 


(i) 

Accent  lightly 
he  four  beats 
of  the  measure, 
■uid  connect  to- 
gether the  12 
jotes  composing 
he  measure,  as 
4  they  were  ex- 
tcuted    by    the 

vme  hand. 


it.  II. 


The  first  seven 
flats  are  placed 
on  B,  E,  A,  D, 
G,  C,  and  F. 


*=¥ 


Moderato. 


CD      Dj 


LESSON    XXXV. 

4 


P-m. 


N^te^ 


SE^ 


t* 


T3T- 


imi^ 


yppft rrFr-trri — rn*r-  • 
rrr  i — rrri — rrri — rrrr — 


I 


*5 


55^ 


-J7-9—X       eg 


§EE3E?Ep 


±f 


rrffr> 


X~~~KL 


X 


■^wg 


3  -fffP 

rri     r  i     >"M'T 


•g      a   I 


iS 


±Z 


te£ 


:s:zdb:r~LJ i'  '  ■ 


-F 


EXERCISE  IN 

CHANGING 

FINGERS  ON 

THE  SAME 

KEY. 


Andante. 


EgassgggEBgff 


±f±z 


Articulate  with  the  wrist,  and  avoid  the  action  of  the  nails. 


-X#- 


-E- 


**■*'•'  e  g~  f      M 


-*»- 


t5 


3W: 


"3"2TX" 


£ 


f 


B^rrrf *  1  h 


&5 


4 


1  s 


r- 


apyy^zz^qpffffjE^ 


i 


S 


M 


JOE 


I 


£ 


8fla.-v«wx.      /oco. 


3S 


1- 


-&&« 


3^2Ezz3^f£=E3= 


* 


iK*± 


±¥ 


P 


=F 


# 


1 


321X3  8t>a.     /oco. 

*f  f    fpff-ffff-ffff-        -0- 

TTTT-r-^r  -1- -^-t-i — rrrr £■ 


V24 


Allegretto  quasi  Andante. 


STUDY   XIX. 


ggg£ 


-0-0- 


•P 1-^-1- 


» 


fe^ 


X  X 


-"£  -f-  £  * 

ZZT~T~'g 


P^E^ 


£: 


•2~T~X" 


1-^H^-1= 


X  X 


03 


::F!!S: 


fzzzzzrzz^ 


2~ T- X~ 


£••£ 


^f^^HrSja: 


i    i     i    # 


SSS3 


2-r-x 


i  j 


znzzi 


A#A 

T1 


— u-fc-jj 


£E=be=±=H3 


i 


£  ^: 


ezb: 


nriuJH.1.1 


n-i-1^ 


-S-*-X- 


$ 


3zz£z3 


±±±zg 


fe 


xzizszgzrz 


o  IX 


:«ze:»" 


£ 


nzr 


5 


? 


■^H-FI 


:Mf 


zS 


-t-e-i- 


( 


Lzta:zz2zrzxrjz:z 


-F- 


HZT 


3 


-r-  a 

zzzszzi 


i — r 


*-*r 


— ^¥^~S — - 


r~5~r 


?=i« 


f1-11^-^ 


2"T_X" 


Jiin ' 


x  x  X 

.i__L_L_«: 


HE 


g£ 


-F=¥^— =}■ 


"2~r-x~ 


3zx±ezz1 


X        X 


II 


m 


ZE 


?: 


£ 


jzlzrJzzrxiizj 


i — i — y 


izs 


s 


i*      a 


nr 


J  J  J  '— 


:Ezzr 


Si 


rzi 


4 


i^fzfz'zzzzzzzz-EZziE 


££ 


i     ■'     r 


|!-1«-. 13 '  "E 


3 


fe 


"i — r 


P- 


ztzxzzt 


*-*-x 


s 


vt 


£ 


3  *•>  r*  t!  "' 
rill; 


i    r 


xzrzxigzxzc 
u 


J_.  I      I 


nzizczki 


ZZZ£ZZ 


±z3zr: 


f 

I 


£ 


Fine. 


:!>± 


•#-  -p-  f 

SzSIziB5E.:zz!zzzE^3 


Sl 


=S5 


^ 


5 


1     4     X~ 


-ft* 


it 


r 


ip 


i*         »i   e» 


DIE 


s 


• «_ 


* 


*fc33EEEEpd 


FFi- 


2    1    X 3. 


^Mi 


V  "^ 


X     3     X 


P=|P 


X   4  V 


125 


5& 


S — F — =Hg-J=^-=-  ;5g F — 5 


-0-0-0' 
2    1    X 


:x« 


ggfc^BBS 


~h: — — i 


IE 


2    1    X 


d^fcEEES 


g&i 


i   i 


l»  Cl» 


£ 


~r~r 


:&=3£:=3: 


§a_a" 


i    i 


-F-3-F? 


^n — r~gj~M 


fff^ 


s 


f2- 


£    £:. 


:3-3: 


IEZn= 


— i — fcj — r    - 
-in— r—r— ^-T 


"x~4_>r 


X   4    X 


X    4    X 


X    4    X 


—isztzas 


g"_+tzns3z3: 


nzzzr 


"i r~» 

SEBE 


i    r 


4 


3EE5S 


X    4    X 


~0~ 
4 


5 


i — i 


— z —    i    i — yi 


»4^* 


Tszzn 


X    4    X 


:-J 


^E^^E^ 


"2^J 


8 


^#1 


g 


2 


~l — I' 


-H3-+-X- 


^|b*he 


3=7 


s 


£ 


S0^3. 


~r~r 


:*=H 


£z: 


DZIE 


4 


x^Ssi- 


:nnr 


"^TP 


s^fe 


fff 


/ 


0T~0  r^ 


~i5a  *>l 


r„ 


:g-=r*i; 


iszizs; 


r~r 


£ 


.    i  j    i  r 


TT 


3: 


~¥- 


i»~P 


*>£ 


azDizizbzzn: 


3ZIZ3I 


3 


rAi^Jrfczi 


L^33fEEE3=d 


^K 


"»       g~r 


t 


szEziztzz:zi_pt+zgL 


XZE 


1     3     1 


"i — i — rr 


±± 


IWT0-0-V- 


E 


2    1    X 


£ 


£ 


■9- 


K «<      »  i    &  *;  g 


igE£ 


~i — i    in  I    n  r_ 


^=i-i- 


— i — rr 


0 
Jfc 


Crescendo. 
f  . 


£ 


«*  I 


^ 


£: 


y^=?i 


^S±e=S1 


t± 


T" 


b^ 


£: 


14    1 


** 


«t 


«: 


§i€=S 


/ 

ztszz: 


m 


i — r 


S±=S 


4  3 

2    1    X.1  .#:  2    1    XT".  2    1    xf 

— i —  f t"i~t~<~^ :_crT H^P1 


Dim. 


#  : 


i?a//. 


1<S>- 


8 


f2 


AC. 


D  MINOR. 


TW- 


zjiw 


>Bfi%*- 


LESSON    XXXVI. 


«^-r^f- 


E^jgE^EjggE 


^^^ 


-f—  0- 


~es~ 


Allegro. 


+2 


SbEp^p^^ 


r^zzc 


:#=:j=:c=j: 


* — * — f — #~ 


— v— p 1 1 1 1 t 1 )        i        i        I        I        i 1      "",■     "I        I        I  — I         h 


i 


STT 

X 


ilffi 


•TT3 


2  °       2 


1   I  1  i   '   n  i  i  i   i  i    i 


■,— <   ,   i  i 


SEUJj^i 


2  ■        2 
2   X  X2 


a 


T 


T 


rr^ri — rtn— 1~- n — m  I  i  I    T~t~T— rr~i — r — 

''''  ''''  gi  i  i  i  i  r-i  i  i  I  I  i  L— 


-& 


*X 


^-F=^ 


3£=5 


Lento. 


5fcm£- 


TO 


2  1  X 


E 


_2JLX 


-e--- 


S 


ebe* 


3* 


2  1  X 


2  1  X 

gccz 


£ 


Met 


2  1  X 


2  1  X 


ffi 


~m 


2TTX" 


2  1  X 


m 


S£ 


2  1  X 


2  1  X 

'-0- 


?. 


? 


3 


#  0 


wvxr 


2  1  x 


£ 


*EE£ 


5=f^=^ 


2    1    X 


J  J  #1 


g^: 


2    1    X 


"i — i — r 


:s=£^ 


2    1    X 


2     1    X 


'-f^f1 


"i — i — r 


P 


^ 


2     1    X 


2_L_X_ 


^ 


^ 


£= 


H— 


SIX 


.2_J_K- 


fcfct 


^ 


f 


^ 


=tfc=: 


3 


2    1    X 


isrizx: 


££ 


^ 


tsp r-r—  ~i — r~       — i — ~i — i~l ~J — i     l — r — i — r~ r~i — I — I     I — r~ 


-fh-K-9- 


2 2 


^M§ 


1  1 


tint 


=** 


~     i    r 


S; 


x 


X  1 


]giJBpL--(L- 


EEtEtEt 


fj-iH 


i — i    l    r 


3  *  4  3  4 


1 — r~ r 


1         X        X         1 


*& 


3  3 


£ffi3 


1  X 


E^^&: 


EgP^ 


-Gh~- 


i — I 1     i     r 


1 1 — r 


127 


4    a  4    a  4        « 


x   f?   1 


T~~r1 — rr*T![ 


#.  *JL 


3-^-  4 


«i.    ». 


ft   f 

lJ a  J 


I 


sfe&Sft 


i   .  i 


X  4-p-  3  -r.f<    T"fa  err  L  :ff^r 


ffrJH^ff 


T- 


4 


-Gh 


-&■ 


ZE5& 


^ 


j -|»-g 8      -j»-2 2  -#-« 


~Pf-x- 


in 


4 

2       -2 


rt , 

TTT 


pKM — 


Iffl 


u2 


-S>- 


-£5- 


*&■ ^ 


-&- 


t: 


&- 


-s^l 


S5F -s^; 


£e; 


-s>- 


p 


-<s- 


£==£ 


3ST 


22: 


E 


i 

X   -  X 

2     if-Pfi2 


X-  X 


x  i  x 


e-f 


^S 


gtilBf 


X    *    X 


-i — r 


^ff 


*Jtf££j 


"i — r 
3 — r 


-j-rr-r-r—f—r—m 


■F=653=P 


S 


<  i  x 


X  #  > 


f 


Allegro  Moderate. 

4 


STUDY  XX. 


JFa/te  Movement 


-£ 


2 

5. 


i=      :-«*=[_-,- 


H^ 


Si 


f=£: 


£*£ 


P=FP*P 


£ 


^xq^if  ,,«f  xf-xf- 

«_ #         II,— — , U»— ' X-4-r  1*—l 

FFfcEWE  :jy-H^+¥r: 

i — i — I — I — I — — zznj—\   i    i—L 


*c 


"I — l — r 


g g- 


£rf 


sznza 


r 


!>• 


•f^—P- 


T*T 


fe3* 


EZ^j- 


_T-HJ_X_2    *># 


~i     I     i — i — I — r 


-*& 


i    r 


"i — r 


O  MlJiOU. 


LESSON    XXXVII. 


f-*rft 


^^ai 


#y¥- 


E^^^ 


B=^^SpM^p 


X 

-f: 


^ 1  ^    ~  -XT*-*-* 


~2?~ 


-®- 


Allegro. 


I  1^ 

J     1_? 


2     1 


s&-=e: 


-yp-f 


*-r~\—T— &*- 


2    1 


2     1 


0)  r 


'     2     1 


jfe%zz     'iBPr^ 


if±* 


C:t» 


~    W—m—       m 


1     2 


¥¥13 


Szhe 


S5 


ezrzgz 

Ftft 


r:*: 


p^s 


9_J  2    1    21    2    1    21 


*t 


^E^EE&i 


1     2 


#P- 


wrtiiu^iifi^ 


:sa=c=f 


3 — r-f 


12     12     12     1_2 

JCd — i — I — Ln — r 


129 


(i) 

This  pas.y\pe 
should  always 
be  executed  with 
two  fingers,  viz  , 
with  the  1st  and 
2d,  in  ascending, 
and  the  2d  and 
1st,  in  descend- 
ing, for  the  right 
hand,  accenting 
the  first  of  the 
two  notes  to  give 
effect  to  the  slur. 

(2) 
Divide  the 
notes  by  two  and 
two,  accenting 
strongly  each  first 
note. 


! 


bLEE 


:*t 


i> 


m 


:«»=i 


.0-  .#. 


:czzr 


***  m 


3EHE*: 


-i- — 


-0-: 


ng- 


^E5ES 


£ 


nzcrus: 


£ 


E 


-1— B-4 — *- 


i-e-* 


2c. 


$:sr. 


±£L 


—    r  i — rzr 


zarr: 


0-*- 


J^ll. 


ZP1_<L 


"» — r 


PzBt 


"I — i     I     r 


?=SE? 


R5- 


'E 


zzr^P 


HE 


-ZTjZTrZZLL 


J i_ 


"or 


"i — r 


:fct 


:b: 


a" 


Nr1]J7i)i^f# 

t       JinEfr  r?:r— cr— h±- 


»    I  J' 


_     r  i 


TT 


zc: 


r'l — i~t 


— t: 


1*: 


tee: 


± 


i  'i  ii 


~o~a 


TO 


:f* 


verb 


S3  5 


Z0~*~ 


"i — r 


tt 


1     2 


E£ 


a_E_ 


• 


li- 
nt 


MrPfT 


fizrS>- 


j3~r~n— 1""* 

?  J  j  J-J4 


■3£±£±±£ 


l    2    n{ 


g2 


3 j  $  =t 


J     CZf 


SE 


2^ 


e 


RA1.L.. 


130 


Allegro  Moderate. 


STUDY  XXI. 


^^^ — rB2 1  21  't-a— ^— ^ — pj! 

X  81    X  32    •■" 
1  21 


-4r— U- 


zjEE^E 


( 


£ 


g^^=r=pz^ 


:fe_* 


E 


3=^ 


3EEE 


_*.—  *_ 


^-t^=p= 


t  2  "*""^  2  3  2  „  ^^~""^-  L 


4> h- 


2      1      X 


s=4==S 


*2 


m 


■tS- 


W 


131 


S±=££* 


±-JS: 


fes 


•#2: 


4 


f^t 


!: 


i.  Iff f  ft  m 


l**v#iy'* 


i 


-(~ 


* 


£ 


■*# m » 


:b=^z 


i=l=H=! 


-M--f- 


Se^s 


f  fff--f- 


i     i      r 


3 


£=£^^ 


X 

! 


J L 


* 


? 


X 

t 


£==^ 


3  1 


^3 


I —    i      ■  I r 


£ 


>  4  j 


^~^E^§=i£ 


5»±^t 


i 

r 


2 
f 


3 
t 


;W-*-'=-!?3=|-1:T:^ 


=m=£^ESsE?EL^ 


182 


LESSON    XXXVIII. 


0  MINOR. 


i5 


BE 


=pp^?N^ 


o  MINOR. 


&t 


^HSfeSi 


» f  ^f^  .  £  ££  5fft* 


rj^L^pz^ 


^ 


2  *  a 


§S=f 


s^^^^S^efeaa 


(i) 

Be  careful  to 
•lur  all  the  notes,        exercise 
and    play  them  IS 

with  the    great-  * 

,.&  ARPEGGIO 

est   equality,  so 

as  to  render  the  chords. 

changing  of  the 

hand  impe»\>ep- 

tible. 


Moderato. 

LEGATO,     sfr 


^^pE 


r 


133 


£:fc= 


— r~l» 


W'£ 


•-sF 


P^ 


3b# 

m 


^mm 


•w 


m 


w—&* 


2  m 


w 


-e- 


L£ 


-&*?-£ 


-x^-r- 


=* 


:xz 


StES 


* 


±=e£ 


^ 


'-^m 


+-*-*■ 


Wr 


—9 


Ei=PE 


a- 


4wi-P, 


E£ 


ip^ 


3 


is, 


» 


j__ 


^ 


^fi==^ 


a 


-*-gfn» 


-KH 


'»~LTr 


^ 


Si§^ 


,=**£ 


4 


^^p 


h-»¥y- 


2* 


4 


^& 


^ 


1  x 

2     «    *  2    m   0 


i 


fe 


IXII 


fc 


— ;^ 


— o-i-f Sqfcf 

WEEEEW 


BE=P 


:*z 


r— i se  .!■  — i— 


x 


K2p_ 


x 

4* 


-—»-»-, — — — -tt-p-r 


i£ 


x 

9-1b»- 


:4~«Sf 


Et 


hit 


^ 


Sr 


§11® 


x 

*4£ 


-m. 


4 


!P 


i  -•- 


x  ^^ 


±:*#£ 


V 


TT 


-^* 


s 


4 


jOEx 


X 


x 


;^zSr 


( 


fct 


"»"  1 
X 


B 


-X._ 


rzizpzrizzzzizzzi-zarp: 


wsm 


"5"1 


#    2 


x1  _ 


3Z#ZC 


Eta-^c 


i*£-ff 


i~j: 


is: 


:*z#z 


h2 


^ 


134 


o  motor. 


\ 


2    2 


2    2 


m 


io3=S5»— - 


i  i 


#-#■ 


-2-3 


daE& 


ff^S 


-r-rr 


-4—4 >r 


I3Z3: 


Tzrzrzr 


r—  nr- t 


I2ZI 


STUDY  XXII. 


Moderate. 
-tr 


±e- 


*^r 


*  33  •#--#L„X11 


i> 


3      3 

Articvlate  vrith  the  tctist. 


**3 


X     X 


§SEfeEEE£ 


s 


1        -.  H*~ 


-X— X- 


E 


«g 


3      3 


E^H3 


4     4 

f-r- 


#— f— f 


>~ 


-x  xJ  x-o  o  n  o 

-yyf  a-lii  i~x  xirx: 


XX  t  j 


::^EE  EI 


I  r 


ZM 
XX 


xn 


£^ 


«t «t<Mi 


S3 


T 

8 


EE#frjg£^=p 


5-j^P 


135 


'*' ftp,  fffirlfj  till  \ 


5&= 


/    x  x 


2     » 


SSF^s? 


¥ 


4  4 


\  Air  if  pfJiJ^T^TFf3 


4==£ 


£ 


s 


£ 


r±:b 


¥ 


.g_rzzEzxztijz^ixZjcf=x=xi#-f 


riT^H — '    r-p-rm-r-j — i — i    i    r 


3    3 


4    4 


*^jEm5?%£^ 


3    3 


=F 


t — d — '    '    '  H — r~i — i — i — i — i — r 


Rail. 


w- 


-%•- 


3= 


jririz 


2    2 


I i  = 


35 
i  i 


^: 


i 


£z= 


^ 


136 


LESSON    XXXIX. 


i 


9  MINOR. 


Z&&0-     fi^Bm.  m-3 


W.H  6      i 


^ESEE^EE^E^ 


,-tA 


*¥&*%rsm 


"ST 


EXKROISK. 


fe 


~T~1     I     l       i — I — ~3 — 3 
^-i~gEMEZ^lVZifz4z^ 


2    ■    3      T   a    a    a 


rs: 


2     1 

a   o   2         a  Jacfit 


»h*~#-  1     3 


■Sft 


1    X    , 

~njZEr~  -*-  0 


i— M-i r-r-p-m- 

■■■«■ kz[ — i — r^- 


"5i:0~c> — r~qr~! — r~y~i —     r    ff  * — 


t:~l I      T* 


& 


-XL 


^P=Sii 


-a «-» 


'-^^eW^fW' 


5 


#— J-4 


2S 


S-t-3 


a  »  a 


=J-i 


^f=*=?«^* 


te= 


a 


» 


g=F» 


S 


1     x 


HP 


5 


i 


— g *— » 


SEJ 


P§ 


3 


IS 


3 


jse 


-gjr-j- 


•f 


£=^: 


EXERCISE. 


±5 


S3E 


231 


*32 


sS 


SliiSlg 


3^ 


3       .     *    3 


! 


jJtaSf 


^ftf-ftf-^ 


137 


s 


i    i    r 


^^ 


ftff  -f-bJ    lij    j 


ja. 


« 


X3 


B 


1  1     i •        X     X  T,  • — 


i    i    i  — r-i    i      r  — r — f-*—m~ 
— r~  ~ i —  ~i — i 1 — r~r' 


"^^r 


to: 

4 


E 


rEfeSEiES 


&i=&=± 


X   x  X  X 


Andante. 


~fkE 


^r-=gffi~te 


ycs= 


B 


^r 


3H 


S^S 


~3~  m  A' 

-»sj^^ — t — r~ 


1       i~ 


±3E 


-H- 


^ 


55BE 


*fe 


^ 


:p5EE3i! 
^-=5= — 


STUDY  XXIII. 


Andante.       , 
rtrg — ff-?13- 


TTT'r-g; 


r r i      rn-i   r r I      i   i  rrrr 


feil^ 


fil 


5c 


m. 


_  TTT 

JT7T1 0fT 


tm0f~  3 


:izz    Et'^-r— '-?. 


==E& 


* 


rs?;. 


jbe 


is 


14    3 


14    3 


f 


€&i 


*te 


Ippl 


14    3 

"3c 


~g~f~i — jg~ 


14    3 


14    3 


i   3  a 


X    4     3 


i    i    i    r 


5S 


SI 


t3E 


3 
X 


:«zczr 


"i — i — r— r 


^^= 


^     1        r r- 


C    A    ■ 

-»  e  r 


p  I— I    r»i 1 — ■ — r 


?i3 


■1    h*         • 
! 


I 


SZ — r_zrH^"~rnz2 — i-r 


i2 


•   5 


138 


—j-r- 


3: 


m^^g^a 


*"*-f? 


1&- 


** 


i± 


^    ^       ffi 


g^ag^^p^^^^g,^ 


/ 


£tf 


~i — r 


B=gpS 


:g: 


-*§- 


t,^c 


b-R— ± 


~$±=* 


i 


i 


p^^iEi! 


-m 


:   ?    .trrt'jsg 


i 


g^-E^Egfe^ 


* 


czns: 


*F 


m 


? 


3: 


e 


S 


±* 


^fcz^te 


^^fete 


n 


i^ 


± 


i 


± 


3 


i^ezrzize 


# 


=F=- 


■M«- 


i 


Cf 


>  f-  * 


\ 

; 


ft^s-fr — p-i — r-#-J— hwrrj 


'$#- 


feed?: 


izzlifczd 


^3—  ;->-^-3- 


ife-=,iS 


£ 


=£aq* 


@L 


&£+ 


SEiz^i 


"i — i — r 


z=E==n 


139 


14    3 


faTT-n^ 


=— 


-F- 


14    3 


14    3 


14    3 


S 


f 


fsi^SSa 


■*-■ 


s 


3 


ec 


y~! — r~p 


T~l     I     I 


S 


£ 


EEE£S 


J=^FF 


i 


^-J   l»   .T 


3^ 


14    3 


X    3    2 


X  3  3 


T 


£E 


~     I     f 


BJ 

y  ji • . 


;  fr.m  n 


~i 1 — rr_ 


f^ 


LESSON    XL. 


Bb 
M1KOR. 


S§EgS3 


S3* 


s 


ffWP*^ 


,^s^S 


3=J 


3    ..«        I    l*    . 


#  b-_L^ X 


1       X 


Andante 


a 


5^2 


-& 


r 


F 


w. 


■f- 


iEEEj 


tiPffff  ft»^#»- 


I     !    'I     i    I     i     i  'i — lit     i — 


gSgflte 


STUDY  XXIV. 


Moderate. 

-b_Lr,_.«s..^ 53_i 

vLvlKai_ rnt 


■*-#- 


^^ 


X-S- 


t 


1  -»- 


^:1ek:3=£=±P==£ 


±: 


-t-p—Z-ZTZZ 


f-f- 


g      r~**i.r     ~~c-  r 


wi  i  ^i  m...\     ~  '       a 


•* 


ur- — * 


?  w  T 


X 

E 


fad: 


•#-#■ 


1 1      «»i 


, 


~»zri: 


Ef 


pn^"  P"  ^| 


^«r- 


-4#- 


iizzziS: 


rzzde: 


3=ini 


i*S£2^3= 


^ 


gi-^g__i g P z_z=EzzE— pzz 

q  r^ ze rz3_tz ^  m     h     ^  _»q 

1 — ^r    ^ — 5$f  ~^    ^ — ! 


t 


J^E:E^zzz^==£z:E£ 


f    £ 


■o#- 


JJ 


=c 


-is- 


»-?-x 


^r 


3£g 


Fine. 


141 


£t 


-^ 


EEJ=E^E±p 


5g 


^ 


4 


j_<"»  ^   ~i_  __ 


^^?q? 


^ 


V 


:x_ 


E 


J*4- 


L.3 

x¥- 


£zsa: 


I" 

£= 


4 


fe 


4 


r~ 


Jjk. 


u3 


3_     r 


r£ 


1    A  1 

Z*zrj*z?iZM^r 


a' 


tr* 


F> 


£ 


£ 


ze~ 


fc¥ 


B 


4  3 

zfcztanz^ia: 


-5H 


f^ff: 


a-» 


^ 


x 


2    ^ 


|±^ 


5± 


£ 


1    &      X 


3ZT 


"      ST 
i  ^* 

4  » 


3zJi5i33^^zje3: 


x  x 


KH^^ 


-$*- 


rf-       ■    *. 


=■£ 


i  :*irr 


:gfcz: 


s 


5g3 


q* 


5 


5  H  a  ■  fl-a-feE)! 


^s 


s1 


Wxv 


X   x 

a 


— 5- 


fc£=* 


d&iF^ 


x 


-H*- 


l 


3^ 


SlU 


X 

_0 


rtx!! — ' — a — <—m — ti 

-T-g # £ 0- 

0  .  .  V 


Ei:#^ 


X 


£ 


P 


•j™ i; 


□a 

X 


9  «»i 


-I 


4 


3 


p rr- fl__ 


x 


^EzE^EEIEEjf 


& 


* 


*F 


TFT 


3E 


T* 


=£ 


T-P- 


1 — =T»-f 


«  _r 

'i  r   I      ^ 


,_F 


r 


:=i=f!zzr= 

H  rJ — => — 


W 


^ 


tt 


4         4 

4              4              4              4 

rz-^i — ^J — f* — ^t- 

4                    3         4              4 

0  5 ^"    r»r    h0 

m 4_ 

D.C.  9 

IB 

fiHn: 5S-       »          »- 

i             ■?      0 

0 

-m # » 1* 

<-i     B0  «»  #    H  i  r  -I  i  am 

-r-|    1,           ,    rj'        ,    iy       H    p^|»- 

t      fc.  ft — -f 

-» # # »— — - 

— ^d.K  J             >         ^         Y 

-( 1 1 1 

r  '       i*         ^»         p 

i—        F-         — 1 —    - 

i         i          L          1 

p#            y        I         x 

4            4              4 

i     i 

a         i          3 

4           4             4 

j2 


SCAL 


S-*f-T-  '~^J^--/bri~?r!2—*=«  -i—m—~-  -^—w^-8»— g— «— ^— -p^         i,  ^  — ^ --F— »-r  -^=  - 

,      2  ?  j, — ,      ^1      m  %-    -i#--P-       ^f--»-   -£--0-     r^      ^-^ 

al  x4    ca-^   ri  if  ff  ff  ,.ff  gff  n   *v  -^  -^ r — n 

Jj    1.1    *g    H      g      T  ■ ^^^^^g^g-^F-j^i :^= : 

^        "^        ^        ^  ^  U        X    1  -i>        — v  ^- 

^^  ^^  0  S"  /^^  "^*\         2    3  ^^  #  ^ 


mis  flr  fa  sdi^-jg-H-g 


x  j  ^ ^r  >3  fj    ■*■ 

ftt     #       -  2 ^  4 


C  MAJOR. 


I  MINOR. 


G  MAJOR. 


E  MINOR. 


Lento. 

LEGATO. 


143 


q        2     3     2     3  i      »       i_#    f "W  -£■■&-&-*      Z~\     1    X  3  - 


ggEjipi^gEpi 


#   I     tttf         Wtl   -**\%  4  X    i 


--e: 


?"»?**»- 


Ei;Ei_=: 


^-jU^F'JTO 


s       ■      i 

■  •        »»»»»-        i 


144 


D  MAJOR. 


2       3  t  i^a  i  3  i     3 -#-5--»- 


B  JIIKOR. 


2     1  2    1  A  I-  2*2  -* 


A  MAJOR. 


P  MINOR. 


4_fjJ       4334f  .•**  Efafci  j    £  V^J       4 


£  V?fi AWT  {iff  E it£i Ei^ 


B  MAJOR. 


C  MINOR. 


3     £    X^,  -0-m  x  #  -*- 

^S-«-  -r?— *-l-^ p— E13EE wSzF-  E8 


J^SS^JZ u_ZSt_»_2 — ^» — , 


-<s>- 


_     _zB?J3_f_S=fc? — q=«_f  _d  «IH— =Hfe 


4^3^ 


£5 


0 — m 


I**" 
•«•- 


-X  -^^ — <&<-  ^?-»9S-«»v»-- 


Ab  MINOR, 


4.    3       2       4 
«>    3    f    1       X-    2  ,  4 

i    I     8  iff      -F-r-»hS-  cff-  i  ^^"w^ 


14.5 


e[)  MAJOR, 

orF#. 


F  MINOR. 


2 X «    •    5_#  7ll»    Su*  A  2  f*!*w_  4 

**Z~v — "  r^i «*,"^rr  i — £•  *z5_# — sri^"^  — r*s^z~z     • 

Il^  X    2  m  ,  * 

n'NS^-^ — i — r~»  —  S-*  -i-3  — !-*-•  -  2— 
£--*-?  Ml 8-4  -it-  v— ^""^S— Lc±  -~r*3# 


0 

_    1 s, 


C 


k2 


146 


Kb  MAJOR. 


O  MINOR. 


lb  MAJOR. 


•  MINOK. 


I 


F  MAJOR. 


size- 


2< 


&$Wr3& 


1 

U — itlf^  rfftl  J*«X 


1     £    4  d    4    J  d43|X1        ■^^^•.T 


Hi     sif-T  riFFI 


XITZg- 


SWEgjg 


r2"-«~5j-    2    1    a    * 


-jzz"~g»~S~an*    a*gy ■ 


t- r 


=1 


i  i.i 


~i — r^ 


— <s>-- 


D  MINOR. 


fro      .■Tafp«'fla^  =^g-»f**fnT$     ,. l 


sr 


EXERCISES  IN  THE  CHROMATIC  SCALES, 

WITH    DOUBLE    NOTES. 


0) 


LEGATO. 


i 


{ 

< 

( 


4 

4- 


4 
X_ 


(5 


5ES 


^^^Siffl 


4433  „         4        3        *       X         ?      X         1        * 

,^-s»«^-:WF-i^=p^-f  i  T  '  j--- 


2 


p     i    ■ !    r~ 


v     i    x 

4  3         2   U 


3         5        3        I       J 


•  *      X        15        3        2Aq 

**fyt:t£lM-V&-  *    ?    x    ?  x  6     ?    4       , 


■i r~ 


WW: 

'i r~ 


x 

3 


i     x*  T61  x*f  -•- 

J       4       2       3       X 


X- 

a 


x 

2 


WS^-i 


X       ?       £       3 

4        1        X        , 

2,^,2 £_ 


■■MB 1 1 1" ""I 


Allegro  vivace.  42321 

2       3     2      3       2 x     i x        1       \       1  *— 

v»  y  o 1        1     H        1     J     J     J 1       I- 1 1     i~ 


2 
X 


4 

1 


i 


2 
X 


Legato.  (2) 


1      x 
— -a — s 


x 


X 

2 


•Z£ *M  *i_fL* : 


3 

1 1 h" 


~p 


-h' 
■P" 


4  X        I  * 


t*T?T  2  3^3  r*  3 

4         0      4        3^ 


4 

a 


u,    "    ui   X      ?     A    3      2 


2 

X 


2 
X 


"I — 


51" 


T~ 


TTT.l 


i  3 


■  1 


3 


P~P~2 


:#^tfs 


2 


2 
X 


±- 


3=fe 


3    X 


W^ 


3  2 

_1 4__ 


1— 


-*»*- 


■- 


4      X 
2 


"I p     rff-r 


2 
_X _ 


Allegro  Moderato. 


3    4 
1     1 


=3^ 


3      4 
X     £ 


3 
1 
X 


4 
1 

.2- 


I 
1 
X 


m 


*? 


m-^-^:E;s|:^jj 


_.J>« 


7. 

>  -*•  -i 


rnr 


x  x 
2  1 
4    3 


x   x 
I    3 


r 
4 


1111  343 

X      X      X      X        1111 

Fffl-*HHg§ 


3     2 


Wp^Sty 


x 
2 

4 


x 
2 

4 


S¥* 


M7 


(1)  This  ia 
the  only  method 
of  fingering  by 
which  the  chro- 
matic scale  in 
thirds  can  be 
played  smoothly, 
but  it  must  only 
be  applied  to 
movements  Mod- 
erato,  Andante^ 
Adagio,  &c.,  otc. 


(2) 

This  mode  ot 
fingering  is  the 
only  one  applica- 
ble in  movements 
Allegro  Vivace, 
Presto. 


148 


(i) 

Fingering  of 
the  chromatic 
scale  in  octaves 
for  movements 
Moderate,  An- 
dante, Adagio, 
&c.,  &c. 


In  rapid  move- 
ments, the  4th 
finger  may  be 
used  on  all  the 
notes,  particu- 
larly for  the 
staccato. 


Moderate. 


3        4        2        3 


4  finrrT^ 


V-- 2-! 1 - — i*L — 0  -  #» 


3F«C 


»-#»- 


ffl  frit  l££fc 

TiT  t~ttt  n    '    '    F 


N 


4 

"i — ^r — i r-ffcc — r 


3        4        2 

X      X      X      X 


^ 


#* 


4itt£t**j* 


a, — E 


¥  2  s 


£Lfcyv 


^ 


*£*#•-«»: 


5/\ 
=1 


^— tfi-b; 


x    x 

2       3 


:¥=^ 


****** 


"X»V 


—4 


X      X 
3       4 


Allegro  Moderate. 


x=03^S*S-=5:#-=pf-^ 


=====  ▼ttfr  i  x  «  i 

. 1       ,      gj 


5=— «  p«— J 


n-;r-r-i       r     t — i       i      i  -it 

X         1    £         3         4         ,         o 

Fit  T  f  f  tUMMf*-*. 


-el-  * 

"23"  • 


:^sa_t_ 


Moderate. 

)"4— 


3: 


X    1      X  *     }   2     i        1       I  — I 


*2  1       o       3  2  ll       »•       ^^^^^l^^i^^^^l 


-9— frf**** 
-4= 


[     I 


3 


2 


-«r-W- 


x 

3 


X 

2 


2     3 


r^x~ 

2        2 


x 

Km 


Jt=±l 


AM.     £**£ 


Sva. 


=Mf* 


^-f^ 


Hill ' 


~ — ~r~  r — f -^P  —  .  »    L  fife    L   ill  T 


r»     bP~ 


^H^ 


—i 1 1 1 — =■ 


-hJ- 


Ji-ttM- 


-w- 


-¥• 


r 


if 

"f 


z#fc*p 


^=f^^^=3rlj^r^ 


— I — I — I —  — ^1 — 


EXERCISES    IN    THIRDS,    FOR    BOTH    HANDS. 


149 


2      Repeat  each,  exercise  twenty  timet. 


Lento. 


:r=r- 


~»Z 


-p- 
-m- 


-I — r- 


~i       r 


r r i 1 — r 

r     r     i      I      i r i ~r 


m 


:¥mm^ 


-m — »- 


^ 


jb-l.il  »:< 


1 r" 


~r~ 


Si 


S 


:  j i_ 


T 


*3=S 


s 


ES 


-p— a-  -p— a— p- 

^  — r_ 

.      r     r     r     r~~ 


*^N 


^  ^: 


:F 


T 


* 


H444 


•I^TJFH 


H 


- — i ,  l  j        J         q 


~»~ 


if  ■  g  ■  »■ 

»— p— P- 


t 


m* 


p-J  •-*— p 


x 
i 


w-e-s-w-P-p— P-r— r-»-^ 


zjS«3=S^S=3 


X 


X 


-f-g-l  2     l-g-j-f 
S»_z#zrS 


12     1  3 

-X_X_X L 


i     i     i j     i     i ,1 

Zj — L~j — 1      J     1  J  J 


X 

•2 


"i    i    r 


T-»-r-.»- 
— i — rrr^ 


3    2     14 
1    X   X    3 


P^^fc^gq 


— —  — | — . — i— — 


x_ 


1  2  i a 1- 

p~rn — f  p  r  r 


¥  x 

2  <o      a  1 


S^s 


-p-  *  -J-p-  • 

x 

2  la- 

— a§— •— i — i P 


X 


±' 


^fffi 


2  1    4    .    P~S' 

rj-i-p-ff-p-ffrp-*- 
zmzSr  p~P"g~P~i — r 


2  X 

^•^ —     ,P^»  P  r  t 


i^i — r 


■     til 

gjpp* 


1     4 
X    3 


;z, 


1     4 


=QFBEQga!fi 
«    *    3     j 


X 
1 


S.T'S.'r'S.n — £  - 1     • 


\>0 


2     4     2     3 
X    3    X    1 


czJpptzfflH 


2    4     2     3 
X    3    X    1 


L"Wf3..T3?3g3 


y 


1    2     1        2    i 

IBS 


W^m 


X        2  1 

a — ff-ai— »_i — 


X 
1 

2    » 


:##if  w^z^^zfJL 


4     #*- 


S 


X 
-•-     2    1         * 

E4~P4-P- 


■■**- 


i — r 


gjgfMPmllMffl 


"i — ri~J~~*T~ 


4    1  4 

::zg!i:=:f:zg!fzil 


5=33*3  eB 


y-;F~i — !Mr*n — ,*-rT^*~l — Mzpd — it 


4    1  4    1 

2    X  2    X 

JiTVJIJ 


4    1 
2    X 


4    1 
2    X 


J* 


:#S: 


* 


"i- 1 — i 


ss 


« «-*c«-*-«- 


M 


P*** 


p£* 


!t  *) 


p-       f)      {  I 


/UBi-ffHef 


uj — cs~9ZmZ9izs~0 


jp&±Z--*±± 


n  14  14  14  14  1 


fa  r  f  F«ir^ 

— rrr 


X2  X2  X2  14 

■■■■■■■■■■■■■■1     ■■■■■■■■■■■       H_HH___H___   \/   Q 


r  l~i  p~rbpj — i" 


^pf^SNf 


X    2  X 
14  1 


4    4    4    4 

3     2     3     2     3     2     3     2 

44* 


fe 


1     3 
X    1 


S    i_szn    i — I    I     ~ 


X  x  x  x 


-U-IU- 


XT"1' 


n 


~r  , 

•«-S-«- 


3  J'  '    '    l — l^_l — P5 


i 

_3_3 


iEfcEEEIEH 


i    x    1 

•    1    3 


izsz~z 


Allegro. 


§rf 


r; 


£ 


=3gnzdfe 


j      I    1 


EjE 


zq:: 


S 


isza: 


£: 


«r-» #-   m     It ^S— *— 1—  #-=S— » 


2      1 
4      3 


1      r 


,-•-» -0-m-0-&~*  i-#-S-#- 
r^-t-m-t-w-W-m-f-m-W-m- 


Eff 


i — r 


S 


^fl:^ms*. 


m~ 


;i    i    r 


~i — i — r 


I — I — I — r 


i&*&t9***9 


— Ezrzf— 


i    r 


'i — r 


=fS 


S 


151 


wm^wsmm^i 


-     [     i — r — i — i — i 1 — r~ i ; — I — | 1 — i — M       I    |     f J     M       |  JTT 


iSii^ip 


Allegro. 


3-3 


JSl 


•   S-* 


-p— F— 


¥±£ 


1 


js 


FT 


fES: 


=T 


F^ 


"i       r 


£3EK 


PPi 


1 


ies^ee 


£: 


2 
4 


is* 


J  J  d 
ft* 


'9-mZWZEZ 


"I — f 


333 


jb3. 


mf-0- 


2z»  ^ 


»-5 -»- 


~w~r~i — r 


i     i     r 


i-  *  * 


n 


itt 


:*&£ 


"i — i — r 


-^ 


-rfi-y 


=^3 


*** 


fcfiF 


s 


:&:=: 


■i^lH-is w& 


J=5 


8 


•-5-» 


P 


=C^ 


i    r 


•ZSI5I 


-»-S-» 


i    r 


-tts* 


-t 


m 


■ti  #- 


p: 


■P3 


Sis »   !*~ 

P~i —         ; — ,i — 


-F- 


%^L 


1     r 


13 


It*-*- 


I 


1 — taig 


izsx: 


«-3  • 


S 


rs- 


Trl     r— 


^f 


i 


EXKRCISE 

FOR 
CHANGING 

THE 
HANDS. 


Allegro. 

9BS 


-8- 


2 


~w 


R.H. 


f^Pp: 


0M-0  M* 


-•:s:«^i€ 


»-»-»- 


Ik   H.  I    J         I   ^      I 

. -8 Pt-f-h-ri M1 SSSSS 


-E 


■»— "— 


2 


irfjefcE 


rrrrr 


i 

3 


^    r 

4 


+£ 


-8- 


^ 


g^Sz: 


2L 


^ 


^r- 


TTTTT 


i      r 


Ttf-#:fzi 


«-a-« 


•-&• 


i         I 


<k£&£&£±&&&. 


»-S-w 


^i:_a 


r~r 


I — ar 


±=E 


"tea  T  3-: 

1  I    [J-   0* 


^ 


Efc^ 


1 


«"S"*r — »  * 


I 


r 


"is;: 


152 


Allegro. 


-9-     a     ~9~     3       22  A  v 


3 
X 
1 


1 


— 


_^ 


?=5=s 


a — m —  * — m — * 


2 
X 

I 
a 


IS 


5 


IEI 


r 


2 


■+ r 


Hi 


m     -m-    -m- 


r       • — 1 1— 


-I r 


E=t 


•     •     • 

-»-  -•-  -f- 


i 1 — 


T" 


2     3 
X    1 


r~*-a 


P-f-g-p 


~§rv 


"I — r 


i        2 


i^E=E, 


1 — 1     r 


WW  WW 


~ err 


aa9BS5^SiTi 


tiztr&Zt 


^mmmt^mt__^.  ^       hr-<— — — —I       11*1    


2 
X 

1 

"3" 


•J 

X 


3     2 
1    X 


3 
X 


1    x   1 


II — r 


•a: 


1 


X 

1 

-g-s- 

r  i — 


„          2  «  1 
3 x-a a a-2-#-r#-a-#-»-* 

-j-g:^--^-li^H8-Pi?-f?-i> 

-*-p-»-»-»-i — pr  "1    E±z  1    1    1    1 — r 


3 


3 


"i     r 


— S-2-S-f-#-f-#-*-«-*-» 


^l^^j-fggg 


v  ,  2  3      f  3 

»^-*-g-*-*-F-Pm=  -F-  +T+=FFFF-Fi— ■'-H8- 


X 


2  -0-  m-»-  m  -0~£-'-»~%- +-■£--» 


"i     1     r 


3  x 


*   m   *   m   *   m    '■'- 

rrrfgi 


"i    1    r 


-€_#_M. 


X 

2 


■■M ' 1 ' 1 1 1 I 1 


Allegro. 
2 


2 

(ZZJl — 


4  3    4  . 

-a--«-a  -«-S-«-«- J-4-j-«- J-  -J- J — — \-a 1 — — i — — 1 — K 


2 
_x 


3    4 

2 


33S 


J^^j^g^pply 


1  x 
3  2 


1 


r~r — ; — 


^ 


~i — 1 r 


"ti-s^ 


113 


Articulate  with  the  wrist,  and  avoid  any  stiffness  of  the  hand. 

~3~ 


§jz£  F#  •  *  3  # 


Moderate. 


U3 53J2UJ 

F^R — r    H~5 


_*r*r*r: 


'S"S^j*~P'l*:|*:n-r-rrg-*:-*:!*"*:* " 


2  4 

2  4  4  4    X  2 
X  2  2  2 


EXERCISE     IN 

DOUBLE 


NOTES  OF 
DIFFERENT 


INTERVALS. 


I      |    M    r  _ 

'—±m  0-0-0-d  •'-#i^«-3-"5:3::i#^-i-#c 

—0  0-0-0-0 0 9xi 

"#  X 

X  X  X    2  ° 

2   222    4-000-  4  p004: 

:»-'t7~i»T~r"i — rrn    r  rT~i — i    i   ,   r 


3a 

-•  — 

X 


Moderate 


1 — r  — 


— i — i  -j — i 1 — |  ^i  wi 1 — <~M~M 1 — 


J  54 


| 


I..  H. 


2s  s 


rh-  i    3A 


BMSf 


:S 


ftfe 


a  x  1 


= 
j 


»** 


SEE 


2 


.151. 


2 


•x 


I  * 


^r 


=?EpE^I 


fa 

3 


g  »i  »i 


I 


^ 


Presto. 


£i£ 


3 

. — I a — 


]^Ep3^^^P§g 


la 

-4 


)E 


agEzg 


I 


B-=? 


lazzjizzrr 

3p 


* 


3     j^~~» 


1     fr   n 


33E* 


£ 


2£ 


I 


ifezz^zzzfczzzfcz' 

* • — ^j— 


5 — * 


-    g 


SEZS n \ tfzSzzazi!*  a pzzazzf — =i — • 

4=^— 3— *— 1^     1    gZ^ZZj^^ZZ^ZZI 


fc  2     3 

ft     ^Sg".  j^aZSHZ  -:rJ«-aZgZgzffzgZPZaZ  1*~c'~F"5i~S~gi~l~gi~a~  M~n^r^'^f">~M"  t  — wrsrsi — ^hM~xr-T^-xy--sr*~f~~~* 


^    H  g  H  t  H  P  H  S-az^szfezazSzazl: 

5    5    " 


?:  £  -f    •    0    m 

zipzzzgzzzSzzz £z~z»zzzszzz»:zz:szz 
i       xi       »<r^  ««i  6*  «i  )^  wi  p  «r^  «*i  ^  • 


e — p — g_ 


£ 


« 


:zza — ^zzgZ2z±^"~±z 


EEz 


^ 


gf 


-  -I—    -J      ^ _^ ZJ « 


^r3  jirff"! 


zz^llzzq^zybzqi^^zgzqrggz^-: 


2 
_X_ 


_L_ 


3zzz^ZZZaZ~t"W; 


r^zzzzzzzs 


-Jr^z£3zzz*izzzaz#z»z»z5zzrizzza~5- 


JL__ 


i 

I a— 

_»z#~»zS — I9ZZZ31-. 


"i    i    r 


$= 


IT 


T~T 


0  0  0 
P  >  » 


I      r~ ~jj ; 


*  »  *  2 

— i — i — r 


:E 


3 

_zi»z- 

«4ll  » 


zzz^zz 


"ZZ rj..i~i~l~ 


L-h* 


g=^ 


M^ 


^=3=a: 


*  *  *  « 


:?zzzzz: 


zzizzzz  :#  zz^lz€zlz^zzz zz*z|zjz:  _s 

f^zf 


"»~»" 


rj.r 


*1 a_ 


FH 


£^ 


zrzz^zn^z^zzzzLZz^zgzSz^z 


X 
2 


*c«-£za 


•-a-»- 


:P=H 


w  %w 


m-0—m-0- 


~*c\ 


5 


3 

L 


p^nifflft^ 


s?s' 


0*0  z 


r i_rn 

rz.-.rp-glgSZZgZZaZ 


,  S 


"I  i 

a~l    I    I.    E» 


bzSzszS 


t% 


zEzzl: 


3 


2  — >^_ 

T-T  r-^lzZZZIlZZgzr^r-f  ZZZZCZZ^ZgZgz#7  _g IZZZJZgl  J-*-g ±=^-ZjzT 


F«T 


_  ~»i~i    i    |    r zd a 


•ZiZJZil 

■"  P  F  P 


i    i — r 


_ZC 


-s>- 


EXERCISES    IN    THIRDS,     (BROKEN.) 


155 


rrr -~ppr~ 


*^»i  wrfr* 


fflTHI- 


-^EyftPBF-S — ri^:^-r>» — s — -r  pp-BT-zr— — c 

iSDiz H ^"^-    gg H-rr ^*^^n-Jffl---r--J--H 

EST  w  *  *«%  y 


ifirf 


S^^SSeE! 


>2  f  3   ]L   3  x       x       i  v  '    "    '         i    L 


v        *         1 

-X-A— , r 


-  q  ■     m  v^0  \r  I     i     i     I     I     i     I 
-~Cr — rr  — r~ f~ I     i     I     I     I     P  ■,  ""T 


I     ,    3 


TDTFrrl — 'i — i — i — 1 — r' 

~r~rr— r-| — i — r—F*  i    i    i    ,  : 

r   |,  ■  1 1 ,— ,—     i         i         -/ 


:=U  II   I  \^TTTS^^^ 


:«z^: 


— i— —  '■     '  -p^T^T^         ~i         r~r~ 


i — [f    rn r 


hrt 


B=f 


—    j  #-^ »  ?i#"i —       *       r~r~r~r~r 


X  ! 


g  * a  t  H-rrT&^t^Ff^t  P  ell. 

'~  q   ~Tr^m    ^i — r—[~i    i    r-i — i — i    r— i ■-  t  ^ 


I 


£ 


■^■P 


0  m~f- m  T"  m  -£i0_t — f-y-  0i — i*--f--f-  — »■ 

3Ej — r  1 — I — ! — r  T~  r~! — [ — ' — r- 

'i    i    r— i— r— i    t  a    i    '     ''"' — f 


-r-F 


^iii^  i    r 


:«=£ 


3  i_£_ 


;i — i — r 


I — i~r-~i    r~    i    r^p  1    I — i    f_nt:1    ri    #  r  - 
r  i"  i    'i^^.^— ^j    i    i    r    i    i    i     i    i    i    r^i    r 

'■■  —'    '    '  """i    i     ,    i  ■,     — r~~' '    '     ' 


rrrrr^-Frrrr  FFFFFFf-FFFf-Fp- 

r  ._    ~z:  _      '  _ — i  "  i  i  pf — i  >  i  i  i  i  -- 


EE 

— XL2ZL1HI2IIIIX 


n    rn^ 


3E?: 


jz#: 


i"":^"7         7J  

s£«MJ  J.  J>  J  J  J  j  ■  J-re3E 


•rtszt 


-i — | — r^r— i     PM — i     i     r-p->~~l — *- 
I      i     i     l     I     r 

1      r"Wf    l     l 


,-e- 


"i — i — i — i — r 


HFg>-f^-*J 


d=3^; 


3X31423X31423 
2X31   4  2  2X3141  2X3        I   2. 

2X3  i 'i    ii  ga > 


f-H 


i_  'i  ■  r 


WL^j^^^JiiJJJJ^ 


5 


V      p>i 


^ES 


■i 1 1 — —i 1 


»  f  P  g   ^  yi. 


rt 


■"r- 1 — r 


:p^ 


£#i 


-        0        -_       0       ~F~  -  0       ~?~  at~  0' 
1     0  I     PZj     i     i     P  I     i 1     i — I — i     ! — I — r~ 


i.  I,  i  -p—  i — i  i  m  i"  i|n — ' ' — ' — ' — r— i — |— jr— i — ^-h~  — 1  r 


3Zsz:a_xza;;r:3zsi^_^_B_1_4_B: 


E 


^     t  ^^      '  ■     '   '    — —  __      ■*  <*   g     1        ;i   J,     i        -  '0 


^ 


'rzPo—mz 


3X3142 


-?-FF-Fp-^-S: 


El 


3X3142 


3X314 


:  i  .      i         x    x 

;  _a  9  * » 5  if 


l^^^^^^g^^^^^S^^ 


-f-#-£-P-f-    r  »  £  -p-:£: 

I  — i — i — — r-p- — i — r— (— i— 


-         •  -         •   -~P~"'P,-»1-X1V#2-1'JV1  -  4 

m-f- 0  T-r-r~i-~r- mi — P""i — i — n-nr-    t--i — i — r— rrr" •  1 — i — i — P"r"#-p-C     j — 0"r~0'm:m  0      TltilLm  ♦  m. 

y..Jpip:iZTZ:r~ 'r~ "] — r  "j""1"- ' — I — r  ' — f~  T"    yfi — i — i~~"r'"r~~r~"1 — r""1     [~"r~  CT — r~    i — j~"r~"< — r~  r  r"  »r  t:  T.'m"T  »~P~  -. 

ffi — ' — =                                                               r3~?"2~3"I~S~X"T"3'I"2~"'           aZ3~3Z2I    "          ' —                ' — I"  I     I     I 


jp^—  p-#-  [— 0-\ — —  P~m—\—p~\ — | — | —  -| — | — i — p-| — 0~m'm"\ — P~ — #~P    2~rfl 

-*~r~P~i — r~i — r~i    r\    i    i — i^^j —  it — ' —     '    ~  ^~Pz; ;~~~1     — r— P~r 


1     I — I    t     P  I     i     r   i     r    P  r— #: 


rrrr' 


rrrr 


2" 


'      2 1  2-  x  x .    x  X 


rr~'i — r 


•    2  1    X  X  , 


gfw^flWgg 


x^,.^^-^^^^^^^ 


II!, 


^ 


157 


Q  3  3  Q 

-» -p-fy  ^~i    '        ti    i  i —   *[  #  »      ~ 


£±f*J*i 


_x„ 


3  4 

X 


t-# 


p  r  #  — rz tj — | — i — ' — p~ — [ — i — to^h     f""1 — pf  i  p* 

J iimm ■ ™«™^ ^ •— » ■■■ 'mm r—i f— 


tr 


4  3  -  2 

a j imi        **  t-» ^~  ~^j  ^^^^^^^^^^       x 

£-=* — SB  r— x^-?-^— jV^^a,— - 


» 


=q- 


pS^|^EP^^S=3 


a 


b&£: 


JL. 


i-  a     * 


— >■■■■<    i    i — i    i    i    i — — — ^~— 


> 


.# 


g 


— a — #F — 1~ 


sa 


s 


XIZZ 


«—, 


:«•- 


:^=3        h 


2 


Jfe-fc- 


*«*  £ 


2 


T~ 


-~X" 


r 


*. 
* 


B 


~z*uW~Q~b0 — ,fi-Tlf — * r  ffP    1 r-ffp— i — 1 — r^^r-i — 1 — 1 —  1 — 1 — 1 — t — r~f — 1 — 1 — r — 1 — i — 1     1      r  *r^  r 


B '   "i     1     I  nj 


4  ■■•■■■■iiiM 


¥- 


3  2  4 

-#-  1  f>«-  X       2X3  2  o 


I  bp~*~j  "g~K^~T~g~3 — a — azzzzi 

1    ,    ,  ^l_ 1        11    nif  tt — 


2  2*1 

¥lf-#    *&.£*    li    3bi    *  J    2fei    3       x   4  X I 


158 


1        )         F—l F      I         I       F ' !  ■     '         '         '—J — 


X&l 


23  Vu.        1  »    X-VPz 


J — F  rffFlJ  — r-  f^r* 


X  1 


ses 


^< 


■for?  ttfff 


4  3  *    v 

rfiF_r~  r 


fep-   x 


*  be.  x 


X    2    1     3 


~F 


H 


4 a — *- 


^£££^£^^4 


*• 


rtfed* 


-#*- 


es— r  r  r  p 


4         2 
13X3  A 


WvJV?~^f 


n 


X    2 
13X3 


1  1 


ess 


~l     r"tf 


■=^S* 


I_X"lFl S-!-?- 


~3~T~5~T 


iJ5SlHl^l 


t X, 


X    4    1 


1 
X 


F^Efg^fcjg^  ^y 


.  9 


~r~r 


# e-j-F^-g-^-— a_#  -        2 

X  X  X 

2    »    *     .     2    Pfr^   „  2  # .1 

Hi        i    —i r-    i        i    —i 1 — r — i — | 


X 


EXERCISES    IN    SIXTHS. 


Moderato. 


:?x:3x^x^ 


--p- — 


S£ 


4-#- 


r-fft 


f 


,4  3  f  2i  .-  a  i 


r — rt~r-r-F^~T*> ■,~FTFrFrrrr,,~ 


~crcr 


43     43     43 


i^^ 


O  O  CTH 


1  »np- 


■"«.  Utf 


^S^Sffli^ 


X  l  X 


3        3  4  3 

4  3  4 


1      IX     1  X  1  X 
4     43     4  3  4  3 


159 


Lento. 


u 


32  vl2S*  4l^Xx 


3  4      3      4       XIX)  ■"  ■   '■  ■       !  m         ■■■—■—         

Ac  Vi  1  -mi  JTn  .^-tiTTI  ffiH  j  j  j  u  1 1  ji 

■O  ji  Jt-i  p  I  r  p  f  f  f  f  f"tF    Ff  f  f  f  p  f  V  p  rf-j  i  J  j  1  :- 

r  I  j      bfcid    =====    rTTi  ======    b±==d    '  r  j  f 

?=x=Fx  iTri  3434  ;  i  i  i 

4  3      4      3 

4      3      4      3  I        I        ■        I  I   |     I        '        I  ,  

tjr-  1  1  ]  ^^^g^^^^!^EEffi^^3S^^=^^B  J  J  .-RBI 

m-j--  Ef  44  4  J  iTr-i  iA?:3 '  -3. 4  i  ^  ijl  ^^^~^  ff= 


^ 


?  lilt  rtt  Pc-f  c-f  Erf  #tf  c-F-c  P  r  tf  c 

-£=Lr-£--p— p-F^V- h-p-F-P— Fj— F-f— F-F-Fi— £— f--F-»-f— l-F-g-p- 

I  '       III'       '  '  1    x    1    x  ■  i      '      1 

■  hi  4343 

x i    x 1 


JI 


E!=pE^ 


S4 

3      4      3      4 


3 
-X- 


1 
i 


1        «       o 
f 4 X_ 


Sh 


SEE 


f 


« 


HI 


ffl1^^! 


* 


B         1—         V a 


■6 — P— « 


M 


-h-P: 


p  r  -W  * 


:=q^^1 


■- 


1     1    j     1 

1-^  4.t  <i  ,=^= 


1===! 


-J — jg — m — ^ — m — -. — ^ — m — =1 — m «a_ 

^— *i— 5 — F3— d— *^J  -^=j— 55 


Z_ 


==P 


"r r 


"i — » 
■    r 


-i»  "P  -> 

t-H 


m-\- 


x 
3 


E 


1   3 

X 


-j — J ^ 1 — ^ 1 — « — ^ — « — ■ — a  — « m  — « — 

X  v       1 


? 


f  f  T  r  f  f  f  if  :p.p  , 


£ 


S   i 


E 


X 
3 


=p=^fE?=c 


'-¥- 


t 


w 


3 


I 


^ 


—  r— F— p — ?—?—?—* — p— S— p— g~-S *  - 

L-LiLJ    11I1    l  1  If  f 


160 


3*3* 


i    I    r  !     i    i    !    i I 


a 


1 


T" 


|3|5|P^^ 


X 


aT'af 
X  «.x  x 


v=y-/i--r.T~ri    i—n  "1 — m" — • 


§ 


3  r  3  i  ~ 

rr^fr^T  rrr  -^t-PI — n~rr" 


;rs 


-  -.1 


I 


rrr 


: — ci 


1  X  1  X 
4  3  4  3 


1X1X    1  X  1  X 
4343    4343 


isitll* 


i*jS^=: 


3XyX    V2J2 


XAX 


XXXX 


3 


*•# 


•        rrn     p*n*~rrri — n*rr~r 
.  __     hf»r,    ppr — Fm — F^n 


B*toir~3  wl«*«2 — B~W~t 


>4Q4 


^333     ,4,4 


2A2 


77 1^-***^ 

J#jn — in  rt 


.».•*< 


•*#» 


*'* 


Ay  «&       o  "  *?  « 


ml 


»ii: 


x^-x 


x  xxxx 


Be  careful  to  hold 
the  semibreve. 


3     3       X    X        3     3        3 

Lrrn-ta-drTT  3 — rfirrr~  — *"- 


tttt 


XXXX   XXXX   X 
3232     3434     3 


XXXX    vvvv    XXXX   ww 
3234    ^X    3234    $$^f 


4343 


-XXXX- 
2  3  2  3 


XXXX^ 
4343 


-10- 
-<0- 

rszzz 
:33~ 


X  XXX 
4  444 
4     343 


xxxxTffl 


**** 


161 

4 

1  f  * 

izaziEE£BJj — jzzUzzjzzj^-^zJzzs?zz:|: 

s533_ "^^"^"^i^— dzztzjzizz  :zz^zzf 
0-0-0-0— m~o qfig^giyr^m  rrw    r    • 


i  1 

TEN.  *___-__        4 

_    "frtr_* pm0m 

si  i     i     rt     I     i     I     r 


in — r 


&r-rf£ 


rTTTT 


i 

4 

r-r-f-f 


»-#-»- 


I     r 


-<s>- 


szz : 


iJe  careful  to  sustain  the  semibreve. 


CHROMATIC    SCALE 

IN  SIXTHS,  FUR 

BOTH  HANDS. 


3 

tX- 


*       X       ?       I 

r—r"r— u: 


hz^zirzlrz^— r=_^_»_g# 

gg  l""H  - 


3 


4 


dfc 


Hz3?zff: 


T      I 


r 


=H 


*-&: 


•±4-** 


X 

4 


ME-? — g 


+r 


4       3 

X    Ji 


4        3 


#»-X»- 


:p 


■tz: 


8m. 

*    x    i     I 


3 


4 

fjfy 


--*•- 


JO* 


*=*r-t=*F- 


X 

1 


X 
3 


»f f-  gt££ 


:faM£S 


gpgpf 


7oco. 


x 

3 


1       f     ,x       4 


3 
.X 


4 
X 


"#•- 


^$^^zz^zzzz=z^:z:fzz#'zz^:z:££: 


-#»— 5»— g»— trip 


Sft=a£**jL_ 


M^zz^zz^zzzp: 


riT^y.frgg 


:x»zz 


4 


3 

,X 


4 

XT 


a 


A 


*•—*• 


;z- 


— 77X — ri 


zrzxizr 


1 — ...T       "^ 


rzZ^ZZxWzt^' 
r 


I       i 


HF 


X  MMB »^ md 

t  r  t  f.A  4  i  J  i-vi  -i-'i 

~i 1 ! —      — #w — nw    &0—b9   j£m i  -Hit,r TZ 


X 
3 


X 
3 


r  t  y»p  «£ 


-fr 
3sbfc 


:^: 


3BE 


3        1  X       1  3        1 

-x — x 3 — 0 — * — 0 — x — 1 

X- I — i      i — r — rzzr — r — L — »zziz_» \  zzuzzb 


~"i 1 r — 


x 

-4- 


T 


"i — 


_»zzsz:»: 


— — — ■ —— 

— I — L._b 

— n— 3 — t 


IX  43  IX  IX  '  5 

43  4343  1       X  1       X 

4        3  4        3 

^3=3^  W-3-2— M==S=^=5=3c-pitz ^zz iiizzj z^lzz^Jzn ™1™1~ ]ziiz5«zzizz«:zn-:iSzrn=Sz  ZBL 
HzzhzzHzzMzzzK «=*! — E3 — EH — E "—  l-R^F*— HE *i-«— *1 — Ed — I— rPI — izz"zzizFz^z 

34  y  XI  vl  v  v  Jq  i       X 

|      |          |      '      i           p. ■■in    p.— | — .»——.—, — — i — i — i — — i — i — i — I — r  •  g  "p     i — bSgCSESS! —  — 
4444      i     m ■i1™'^      H"  i Ph      CZC3ZZ3     r^^^^^^^^     


162 


$ 


Moderate. 


EXERCISES    IN    SIXTHS,    (BROKEN.) 


-££ 


ife&S 


«*1  Vf  TLf  ,  Wcfe 


i    #^  k*  tef 


^&^^^^yUj^ 


-s>- 


4  13  X    4  13  X 

Moderato. 


^rJ  J  J  wJy- 


5F==^P=FC=* 


rr     f  1      r  I  -,  I — : 


14X3     14X3==a      S3      ==      Q      g^g      ^ 


14X3    14X3 

Moderato. 


f      r — r — r~^rf— r-^-r — hpJ~*~r'iH~'i'r" p-Hrr-p-Hp — :  g-rrP-rr— rPrr— rr  ri— rr  n_lZE=CE--— S^-S 

rTnr  r^r~i^r-»r#~~*T-r-T~-prT-r-p -| — i — ri     -j — ri  r~i —  pr^T  i-^**^^  f^*^  r^s    rjrp    p— -    r—    f~^ 

pp**pH    p*HpH    f      '"'    F'    '"'i    pp""H    — ■      f-h    "ZTJ  "—      ■— ■    — —    —    — ■— 


i-«-r-H3: 


14X3    14X3 


1  4  X  3    14X3 


_4_3 4_ft__4__a 


FTTh    i-[—{-[    E23 


^™««-  ^         ^™^MW~ 

X  3    1    4    X  3    1    1     X  3    1    4  ,  ™" °"       P"*- -H       |  mmJ       I"— 1 


isrj-1  n  _i  i~1  "Itj  ±~r 


praacm 


^'p^c^^^^^ 

i",  i 'pi — rr  I  i    rri  t^P  rr  rp  rr  r#  r    r#  rri  — _ 

ii;l    pp*pi    r"M**i    r~™JE    Z^Z2    rj  ZTt    i  '   i  . 

—    — -    — —    —    —    —    PPPJ 


•xJSL 


orq  ms  pa  P?^  h-?h  m 

_T+"H     5E3     I'll  I J     il    yJ     i  I 

X      *        X       *        X       1 


p^^H    H— H    ^f**H      pptH    H— pi    pp*'pi  Hj 

■'■■||  > '    ■■■■■    ^^"^■i      ,^^——  ^™i 

PTP*P     rTTTH 


;:-fr-»rrf-»f-ff-»fr 


p""p™  ""i    p     pj?._   *. 


•  p 

r — r~ 


± 


— 


p- £  -r f- ' f-f'  f- f  -f Jf-" -f- f-  - 


413X    413X    413X 


4  1  3  X 


-     r- r- — --, 

-ri~r-n — ri 


4  1   3  X    4  1   3  X 


-J 1— 3 \~J r*  2 — 


X'!l    4 


i4- 


<3  1   4 


q=q  :S^  g^ 

i — t.~i      i  *n  — -|-#-|-^-j#n-#— 


=pg=ffi 


1 03 

<314 


-. — 


s-e: 


i^g^R^sp^S^™.1 


yr* 


T* 


1"T 


EifE 


«: 


^ 


J 


Sg 


413X 


"□ 


r 


p 


4  13X 


* 


fc±b 


»rpr 


•If] 
r  rr" i 


rrn 


3X41        3X41 


^  — i    -i     r — r    B — i—- » — B?  ^- — »»   i : 

j1  i"i  "i r  rr  i     i    rr  i     rr»  I     |»  i  _  i     »  r^y    _  i      i 


issaw 


§& 


rhi 


IF 


-0 


s* 


"I — — iJj»X~i~r»T — Pfri — FTT1 
-r#-r-ri-ri    frr-rh-rrrri 

•v*  mmnmm         i^n^m         n»«M 


r^f 


^^j=j-r^       p||»j    pIBi 


P--T-   f-^r-   ~r»T~. 


■'  ft. 


i  'rr*     1   i  i   CZEB 


413X       413X 


413X       413X 

f f  ff    B  #     r  . 

___  ti — r'rri — r-^0r 


w    \w t# — rjT 

3_-  „ — *_ 


l_vr    r— rr     i — rrrP'srnf- 

iffilS 

2  I 


— 44=3-8; 


4X41       3X4X 
i     * 

IB 


4X4X       3X4X 
2 


□S3  m  SS  |4w  W4-J  ££  Cm 


8m. 

=5  SB 


1      X 


12*531*- 

2         3 


nrn  t.-iv — — a— 


r 


br 


X      tX         X 


x  f,x 


r=^^ 


2  4         4 

*  3         4 


4 


3   X¥X 

41  3X4X       3X4X 

4  1        4  X  4  X 


g*_js_pc  :z: 


*    b3  * 


3 

Ac 


lx^i^IB: 


'-Slrt*]-^*t 


7f:siEf 


4  14  X       3X41 


4X41 


0^   —   ^^  ZJL   h=i   .  0    ZJL      *  m    •  *    0  ^Tlftf^'       ,^=f^=f,   ; 


'^  ;%'/-'£  ^ 


4  I  :<x 


KXERCIHKH    i\    OCTA 


^N^^^U-^^^a 


IJlbgfeig 


ff^Jfr 

mm 


%is 


w% 


i^rf^e^i  SJw¥2*  ^ 


rift 


•s  •■.:  *.-3  «.j  .  ^ 


:3  HJ     H2 


IS     X   *    3 


&*rr 


BTEtiaxaj 


srarffi 


EF=3 


^ff^ 


P^£-£ 


t    £:£:    :£::£:   * 


tiq 


tAfe 


£*£ 


-#■    •#- 


PPlI 


r  f  I*  T  f  IfffffffrrVfVfr.f  f 

tLTLfi  Oj  m  —  Lu  lL 


SB 


QJIP 


NiW 


PPPfilP 


mi 


J— 


tf 


166 


d*  rrr  i  1  i 

JR. 

LXJ-- 


»», 


1  -i- 


'  '  3_lj — rT_l"-r£TS"£-E] 


r-i  I  i  '■  i 


W^W^ 


\     r 


*" 


:^^- 


PR 


«j~»i  \»  ^  *i  f  b  »i    a  r~T~s'  a  r~' 


V 


s=- 


0 


a_rzr 


F"~^ 


fe:*p 


4  jy 


~r 


izpza; 


3E  EE?E  EfEiE^E 


i 


-J 


Fg 


Hi 


'-f- 


*^ 


eIiphe^; 


u 


f 


r 


** 


IT" 
IK 


fe£ 


-1 r w — ^ 1 w- 

-E-      ES35 


I 


a. 

-a- 


3 


=+*?: 


:«=y 


■f-f 


TT 


fc 


r~ 


T" 


s 


**-p= 


■m 


3E* 


-rL_y 


-j^=f 


167 


-«-«. 


a 


9=1    fS 


y*3 


■ ^i i 


flrom 


)_* -fl-« 


^^S^EE^ 


SB 


rjE? 


:sis~ 


# 


4-0-9.- 


T-— !-«!-«!- J -I- J  J  jH-   l  n 


3 


&/& 


"•Mnu 


i_ J _j  J  *  j i*^  5    _j"^ 


•J      4       3       4       3       4       8       4  ^4 


,       4       3       4       »       4       8       4  3       *       3       *       fc3       *  3u*3*b«*«4 

■■  '  ~p"^    '- '  ■  —    i    i    ■    i    i    I    i    I     i    i    I  a    i    I    I    1 


3       4 


■w- 


i  ^  L 


^ 


rzrzrzrzrzrzriritzfeazpfP  ^ 


— — rffjg-r— , — ^^ 


k-NH*- 


»#»^»- 


J    »~r~u~i —     I    i    i_  i    i    i    r~ii_|    £~ 


IfJ^rh 


3    4    4    3  1      '      ■      *      I      "I    1      I 


3         3         3         3 


i 1 1 r~ffr— 1 1      j i       r — i 1 r — I- 


#fe££#z§ 


— — r~i — r 
1      I      I'    I 


»-$» — j* — » 


— r 


i     r 


s 


F;       "t 


3: 


ifli 


pg 


5 


£ 


S^ 


f 


f  "fl ^^"~  !j— m— *  —  # — J— H ^ — 1 — « — a  — -n — ^— ^ 

1  gjE^E££JE^E^ffi5pE  eS 


t  _?L_d_jL_  J=J_  J._  J__*_*_*EE1 '  JEEZ  n  EE 

===== 

1 ^ [ 


=f 


I     —     |     j—1   1-1    |     i     l  I  l    Ml!     I     |    ■     |    |— I— I— I 

EEj«gg^_«  „ip«_H       ~ ^<_,    «eeeej  — 4— -p^-  --r^f^-^^— f— J—g 

ill  3  3,34£g41i4yigTO3ga 


-<&--- 


-£*■ 


•.ifr. 


7~'r"     "I — i — hj  "I — i — r 
~L~i#  r  m~zrm-\ — ezsEEM 


fffgfff  ff  f  f f f 

1 — i- r— i*~i — r— r-#zrzrzrziir— M~z : 

1         i     '     i — n     i     i     >  r*^  • 


i«=i=P=Ei^»iPfcSztttP^F 

f    r  i         r  ! — rqr~ i     i     i     r-»r±r 
ZTZtEETZril — i — r~r— »-c:-»n — rff#" 

Irtfc  n»arF-rrS*T-TH^ 


-rzhzrzri^zi 


169 


8va. 


1  4       .  3  4  3 

4  ¥•  f  *• 


./oco. 

4 


4 


zz^EsEf^:: 


p 


*  1  1  £  1  $  *£  *  *  te  *  I* 

see 


-  -jr/iy  y»y 


■--- 


#pzdff=^czte:=t=6fe: 


"i    '     r 


4  3 


-  4       .3  4  3  4  p 


■>■'■■"! 


-M- 


1 r 


q: 


^E^zzg-^=^: 


P 


=^=^=E 


-g-jfc 


1 f 


f— *•— * 


r 


/ 


KEV  of  C 


HeE^ 


ee 


^ 


:f 


i — i — r 


WW 


~v-» 


ism 


s^J1^^ 


KEY  of  G.  .^ KEY  of  D. 

^V.s:  :J  g#W*  *^*Sl     j^d    S5^    ^^   Ej£fef 


*T3 


3d 


-«-  _ 


KEY  of  A.  KEY  of  K.         ,^|**J^!  "^^"1  KEY  of  B.  -^ 


KEY  of  F#, 


m  »f"r"m~,i — r# 


KEY  of  C#. 


i — i — i — i  i^xrwr^. 


SE» 


^i 


KEY  of  J-:[). 


JL £ 


uw 


Vl»-F-» 


i    r 


g  F  k  L4r+-£FE:3=3I 


q2 


•*^y  tFJ 


KEY  of  n\). 


Brl^bEH3 


•  -ff-f-0 


0-  -m-  -m--0 


Tl 


33^fs-- 


m    0-Fzr'i — i — rti — i — i — r~+  #  . 

— i    r~a  g  r~i    ferr~ *"b~b~i — i — h 


KEY  of  P. 


9' 


_-_•  r  1     r~'i — 1 — (-'rl#  « 

f-r  r  r  r  L  h  h-pVL-rfyp 

"  I    r-tr  ■  1*  I — tri  *-*  m  L  I — i — r 


¥P= 


170 


\ 


g^miifl 


KEY  of  c 


bmmsm 


KEY  of  G 


3?* 


m 


KEY  of  D.        ^^^       f^^S^ 


S 


KEY  of  A. 


j!-4^5^**: 


#i#^-"r¥^-f# 


£**t±« 


KEY  of  F#. 


£foh 


afV 


^^^gg 


J**P5f 


KEY  of  C#. 


-fi*M. 

1  mi  43 


KEY  of  G#. 


*^7T  ^^*^  KEYofBb-  i^_ 

KEY  of  D#.  ,,ii^       &*^^_  KEY  of  F 


^FtPJ  ^E^S^ra 


KEY  of  F.  L,  _  0Um, 


:**£-  P& 


h — rf-r-r-rr-^r-Dr-f-r-f^-T^- 

■»-  P  j     U*S^     "**^M~    £Zl  P  -»- 


fcfc 


KEY  of  C. 


US 


ffp 


!«#ffe=7 


-b r-»— p-M—     L    !  f  T~p-j 


_#    .# 


t 


i 


a 


n 


5 


1 2  3  33 


iiil^s; 


§£l 


S^E? 


:£=»: 


H 


*  *  £  £  £; 

1 —  -j —  -1 —  -\ —  *i — 

-fc=te=£=Ji: 


-» — 1- 


TTrr^g-a 


!■— P 


T   '     '  ■ — F-         -F— i — »--»-»— »-F=F— F- 


-    b± 


y  £ 1 

I    1    I 


j.  I  .j.  4  *  #~^.  ^  ff  |TTff.;  r  r  T  f  P  ~  "*'  ^f**l 

■        ■       ■       ■  i —   ~w~  [1      fc.       m      k.  11  *W 


H1 

"»"  8        8        8        8 

8        8        8 8  1  I  I  I       " 


4 


SUS  [,  I,  I  *  1^ 


|~<s>- 


-<s>- 


r    i 


EXERCISES    IN    OCTAVES,    (BROKEN.) 


®w 


— 1 


y 


&3.n 


mrn^ 


A 


gV^umz* 


-f — r — - — 1 a— 


r_i_T 


-iEFzz^c 

rZLC r; 


r      /  _r     t     r 


0         -P- 
r~   ±   j~ 


i 

"T"      f      T" 

1 #— i™ 

1 — ■    ^~~ 


S=s=a 


PPPP 


r   1/  r 


wwwwS 


m 


'^tfsWftftt  (tow  f i 


y^wmf^ 

3-^j-— 4-^-^-*- 


7f    j:  it    <r    g:    g:    :S:  ; 


iz^z 


— i r t — 


PHI 


—f—Z?E~ZtE~~TzEf' 


e£^ »_ 


— r — — t- r — — — r 

y  i —      j — i — : 1 —  — 


.  .-  «*&$£$&  i       i     i'ff.   f  ,f,_f  f    f.f-f-ft 

HE^^:^E^:^EjEEEEEF:=rz=c— p6  jTSg=  ^:^&fc5xig5-F 

|  Pe^F?11^1^  ^-SjF8^^^  &=&^F&-fc^ 
)  »&  *  A  A  ^#4  :EEF^=^=^  =E=fEEEE?EEE£EfE 

3  3  3^  3 


-es 

4 


#--*-#•      ■# 


az«: 


EF 


«=£ 


»  ■ 


17S 


^=£F 


!E=ft 


£  £  .«.  * 


P  tf  I 


Moderate.  £ 


»      » 


£■"£ 


@=S 


gFF? 


Sfj 


=E 


i^iiiil 


pi 


tf: 
ST 


B      g~ — i r — az — n* — *hT 

%      a      r a — n-- 


Moderato 


Tf 


¥ 


*3£ 


I 


*■'   *      J. 


sff*^ 


I 


=i— 0 


174 


m 


-0- 

-r—t 


A  ?-£ 


•-1 


r— I — r 


*-n 


V 


3-3— r 


»  if 


LB 


s 


A 


K-r— -• — a-i £ ZZZtzjZZZI 


Z5       ^^  =E£9EJg^ 


i — r ~~i — g — ■ 


* 


LS-[ 


— i rzzfc 


fes 


^3 


i-^~ 


*=F 


-fcfc*: 


#E? 


f  ?Lr 


Lfb-tfUVy^" 


mm 


g 


^ 


Si 


q_j: 


F — r — f — m — j — 4 — jzzz  - — £=pr- tz 

— p-i — jp-| — — | -£- — j — — r p — ri-g r 1 1 — ( 

.    — r— f-| — #-| — »j — — j lr — i 1 — ^szi 

-^— K"^«— -£rr-r_"^~r"*"TZiri — —   rzzrrzizr-  r~D 

^safes  5  5  y-Qp  sy pea  - 


■a — i-^ — P — r — i      F — [ 


55  **   P 


1 r 


A 


£ 


Jd 


^^: 
@=^= 


E352 


J 


£ 


Lfl>l    f/  .f  3E 


if 


TZPZZ-ripfZCZf 


"i — v 


&=&=& 


^_JE_JL 


S^^ 


"i — — r 


sS^ifc 


±—»      -9- 


=F 


zr-f: 


£  £  £.        £  £  g 


zz — c 


i r~ 


^^W^^^^^^^=^^P^^^^F^W^ 


■wrri'-—zarj~_t 


g=£=M* 


:zz-pzczizz:#zc: 


S 


g    f    g 


*z~zc 


-»-#-i — — i — j~i — — r~y — ^i — #~i — i 


t=f=^h. 


ffl3 


ma 


i 
3 


ezpzz 


z~i 

_*z 


XJI 

J 


6 


3 


pzl 

L-#- 


ill 


Nf^l^^P 


§» 


'1= 


«  4|  8ra loco,  -~f-     -f-       » 

£  *  *t  rfE  £  1  £  £  ^  &  £ 

r~ — *rr3 — ZZ<~ (zxz — i 1 — □ 1 — — err — rrp    iZ 


i m~r~ 

i — r~\ — 
i — i — 


zzzz^rczz:^  ~0-£Z—*z£z- 
!    rzrz~m~r 


i  i  i   i       rm  i   az 

trzazzp^fZrr-zr^p^^  :_.© 

Hiz 


-  r~  pcrr-rrri-rn- 


■#F 


4^       ><    4 


i.       '•X4 


SIP 


^21 


i|ippiPipS| 


-i>-f-  ; 


■9-  -X-t-pp'c^-T 


£ 


IKS" 


s 


Allegro  Moderate. 


STUDY  XXV. 


-m — J0-d  -mr-- 


&-e. 

iff"  KEY 


Sf 


-#«- 


-£#- 


EXERCISES    IN    CHORDS. 


3 1 2. 


175 


E^==f 


MB 


=3    T    I     -f-f— J     j    J    I 


-  iF^ 


|m~£* 


IfT  W- 


3 


is 


»a 


¥^ 


-  b 


J6- 


fi^ 


■»-T3 


iil^e 


iPfWf 


3 


^ 


/Same  movement. 


rf-f 


i^pg^ 


^i= 


n^ 


3 


;#-o— 1— 


33^S 


^  * 


/ 


3^1 


KEY  of  Q. 


#^ 


1 


33? 


j__ — j — J « m — ^ — 


3 


¥ 


M: 


«• 


P 


H*=T 


fFif 


i? 


sf 


3=1 


1 


=3-=l-~F 


1EEE3 


-5« « — %m: 


"3^? 


4        4 


m 


/      KEY  „f  n. 


—  _  —01    Mj-flj  - 


e 


I 


?=!=£ 


j — j 1 —  T—^r 


=iN==fc 

3=fe 


1 


I 

0 


m 


i 


S=l 


3 


SeS 


>tr 


H» 


r-i 


r 


:i 


*=P 


3=3=3 

i 

x 
i 

3 


fcr- 


T~ 


-t-tr- 


:F 


'  £ 


-»- 

I 


— # — »-- 


:tt» — P1- 


f-1 


:#*i 


«| 


nii 


T" 


I 


• P- 


s 


#z*z:r- 


/ 


i* 


^ 


-# 


KEY  of  A. 


r=f: 


it 


3* 


T^ 


EE£ 


i 


i 


n 


r-t 


EE 


-Ml- 


3 


— « — • — « 


*r*  -. 


£=g=i 


^ 


1^ 


£ 


=F 


■»" 


-#. 


^-*: 


.~BC 


^r 


=r-4=^=rzz4 


3 


rfly 


3 


+*: 


i 


--i- 


*»   * 


gpp 


t=sr 


^9? 


+«- 


L¥-f 


5 


w 


^=- 


lq-SL 


fr^7 


I 


3 


=»=E 


use 


# 


3 


:--f-: 


"2^ 


E=3 


? 


4    3 


KEY  Of  E. 


.2 3 


X 
1 


4    3      4 


-«— « 


i_^_.B L_S K_/ 


s 


— m— m M m~m \ — m 


i 


^a 


ff8 


!E 


■^ 


■* 


%-+ 


W^ 


■d-m—* 


& 


¥ 


176 


^ 


f 


f 


t 


p^? 


^¥b- 


*± 


*—4r 


M 


KEY  ot  G. 


f>, 


**£# 


EEE5£± 


M 


m~- 


M 


3  2  *  ijJIFv*? 


5 


-«-• 


r  ~r 


lfe*3E 


s£ 


r* 


i 


-4—--\- 


-4—4 


mm 


»: 


J* 


^1 


177 


BE? 


pa 


KEY  of  1)1). 


S§S 


ffV 


* 


=i 


:i: 


5 


=JF 


i 


5 


1 


3 


— I- 


JEEj 


3. 


:S 


* 


« «- 


^ 


:Sfci 


bbJ 


U 


4 


pi 


rJaf3?|i^^- 


TStnnH* 


fcs=gr- 


£b 


KEY  of  Ab- 


ii 


S5 


*=t 


X 


■f 


— »" 


i 


r 


#-.Hf 


=p=^=*£ 


f 


I 


M 


£± 


■s> 


:«-t- 


:p~y 


t=4 


»"T 


£-£ 


IF 
3l 


s 


—  -?--«, 


-»- 


1 1 

-» m- 

ztzzrkz 


•S-: 


* 


28. 


ft 

— YS    

Z3SEZZ 


zrarpi 


sEfcZT^ 


S: 


15" 


^E^ 


'i 


— t-*g 


«z: 


n 


* 


:•=*£ 


r 


S 


r 


is?^: 


tQ- 


s: 


2*"®- 


IX3H 


1 


-«- 


EE 


• 


KEY  or    I 

Eb.  p 


II 


X 


:-fei73--,zzz— : 
■S-b-4— 4— 1 — a 


-J 


H^ 


ri^ 


ff 


slit 


5^ 


e^:^ 


y-*-«r* 


s 


Pt: 


•t-n 


1»— *l»- 


:F 


r~r 


m 


-•—$*- 


T~~ 


T 


^ 


at 
3  f 

d — b 


5 


3 


I L 


=i§=:^i 


yr 


:-f 


BP5 


-      4  « 


=* 


33 


5 


=i 


key  or 

lb. 


E 


£ 


<|  i 


i 


5  'r 

„ #_  J_ 


i  il 


IB 


S3: 


J: 


* 


1 


:ia£: 


-#- 


~T 

5 


jr 


~9~ 


:#•- 


T      T 


l  m 


'9' 


r 


-X« 


£»: 


^ 


f 


* 


r 


"~r 


"X 


* 


T" 


f 


£ 


—J--«jr 


3S 


fei 


5 


>J — — «- 


3 


^S 


1 — _j— -bj- 


^3 


W 


:55= 


r~r 


w- 


r 


•fr- — « — «— 
"bur*: 


bb5- 


0' 


:5U: 


r 


5*1: 


±»: 


r    r 


Bt 


-«- 
-#- 


br      * 


sP 


bS 


s 


rpt 


:feJ: 


'PT35 


* 


-b« — b«- 

9# ^~ 


— I- 


Se:=5e: 


ttr 


«p- 


■k      - 


s2 


1 


178 


S- 


=e^ 


i     1  X 


n 


KIT  of  F. 


>2 


^» 


r 


¥ 


& 


IS 


«c 


c_4 


** 


-3--J i- 


^-St-Sf 


dal 


:*: 


til 


*=«* 


fffVI 


KEY  of  C. 


E^L 


* 


a 


w 


e 


i 


■ 0 -J 0 m ■ — 0 K. 


7 


a 


-1- 

i 

-J- 


^ 


s£ 


B 


1 


W- 


V  - 


f 


m 


i 


^ 


** 


^F 


S£E 


#s- 


¥ 


** 


# 


J 


*■ 


3SC 


I 


—Ha 


-ST 


-» 


t 


* — ---i* 


i 


-^ — #•- 


^-* 


1 


i 


i 


6 


^ 


N 


l***N 


8p33 


:* 


ffi 


3W 


£ 


«? 


T? 


W 


:#&i^==igi 


bj       E 


Hl 


=fc 


=fct 


v- 


±t 


SEE*3 


S 


if 


=53 


3^ 


#•£ 


i 


•r 


PI 


tt  n 


0 


\ 

\ 


s 


sfc 


w 


i 


^ 


£ 


f 


n#J 


-#•* 


r 


j 


:6«i»- 


:5i 


S=S 


I 


i 


-■i 


£ 


T 


S 


IS 


i>* 


r 


:f 


f 


4 


f 


I 


-#. 


-** 


:zb 


r 


^ 


Largo. 


3         ^ 


$«: 


"b* 


a 


:£ 


zto 


§=3= 


Ml 


Rail 


3: 


-b#- 


£ 


I=e$ 


f 


:zz«z 


-<9- 


CI 


* 


j 


T 


? 


-&S> 


-<s>-- 


f  f 


~jsr 


IVJ 


MAJOR    MODE. 


FINGERING   OP    COMMON    CHORDS    IN    THE    THREE    POSITIONS. 


SET  of  C. 


:i^: 


-01 — *•- 
-+i — x»- 

*•-       l 


* 


^ 


3 


i 


.— tr 


==IS=d 


KEY  of  E. 


* 


^1 


CZstz^ZR 


Kg*=3 


=£ 


KET  of  A, 


Si 


f 


^ 


-*•- 


f 


i!S: 


£ 


V- 


KEY  of  a. 


E«-  e» *»- — x»- 


^^_^ — it — £_ 


*33 


KEY   of  B, 


°-  bbbbbbb 


rir* 


# 


■#-3- 


-f-   at    JE, 

-# — 1» — »— 


*£ 


j^# rtv 


* 


w »- 


**=F=t 


KEY   of  E, 
b^b 


/it'l  t'y 


dfc 


hes 


"J         T 


"apt- 


b-tHt—  « — eSP^n 


KEY  of  D. 


4#- 


It- 


i3   ii — «•— ?» 

?i:f-f 


-•^ 


-XI- 


d — -xi- 


r 


KEY  of  F#, 

or 

a.  bbbbbb 


:»~d:: 


r 


-• — »- 


#"#:?  ,i_~t« qp     ■  r 


r 


KEY  of  B, 

•*Afr 


ftm,.] 


*!>— X — 1  ■   -81- 

I — &T.m  "::iof 


* 


±5 


-1- 
-#- 

-»- 

r 


__|_ 


^5_5=if: 


-i — i- 


"1 3* 


* 


KEY  of  A. 


KEY  of  C#, 


D*  bbbbb 


3#     m- 


1 »- 


^ 


-^zz-^zjrzzn—m—  : 


KEY  of  Ffy 

or  E#. 


s# 


-1-  -»- 


4=g  -*■ 


T 


T 


-L 


8  «l  *i 


^Tyfe 


r 


:£: 


Observe  the  same  fingering  for  the  common  chords  in  the  Minor  Mode. 


Example. 


This  exercise  may  be  varied  hy  executing  the  chords  in  Arpeggio. 


-RF3=4— Ti=» 

2 i  x 


180 


STUDY  XXVI. 


CHORDS    EXTENDING    TO    9ths    &    IOths. 

Moderate.       _      m   -#-    ♦     -p-    ^_  \,g,      _ 


fe£ 


H* 


i       «*P 


-e 


g  y-  » 


fH 


-4- L-**#- 


r- 


_•_ 


■f—  0 — p— g- 
tp~~ip — i 1 


T'TTT 


-i ( r 

Avoid  the  arpeggio  movement  as  mutk  as  possible,  in  order  to  accustom  the  hand  to  the  extensions. 


ip: 


N^ 


h#_:£_lMLb-*fL 


b* 


■gr 


-» — t»: 


-*«•- 

=£ 


£ 


j»r_ 


r 

5#- — 1»" 


T~ 


P^f 


±*= 


ffc^«c=*=*P 


»f    y    » 


-#: 


«F 


&• — *L — *» — *p- 


* 


at 


■#J 


3 


-A: 


2 


i 


£ 


t 


3 


t 


#?- 


3 


^ 


n 


*l 


i; 


5 


£1 


J- 


±i= 


jfe^g 


^^"aw 


:si 


gffi 


±i 


±* 


^=£3^i 


f=f=f=r 


*EE*EE?EEjEj 


F — I8 — T — f 

5 B* U *_ 


r 


3= 


BSt 


1 


:J     dji. 


B 


a 


* 


3E§^ 


3 


±p=Jp: 


31 


r 


3=ftj= 


«- 


m— «r 


r 
^ 


f 


:&: 


* 


ei: 


£•—3-1- 


* 


. — i — &J: 
j_  ^ 

• m — "—  mr 


w- 


T 


3 


=^ 


!  * 


w=* 


3= 


3 


s 


:f=f: 


«tU — * — m* — 


t>   -1  » 


is> 


gsjlljj 


¥^ 


« 


2CT 


& 


3X5^ 


-&- 


f  ■  ■  f  f 


-«- 


-« 


~CT 


I 


^ 


i 


5* 


f  F* 


-s> 


-®- 


3a: 


THE  THUMB 

MAY  SOMETIMES 

BE  EMPLOYED 

TO  EXECUTE 

TWO  MOTES. 


THE   THUMB   EMPLOYED   ON   TWO  NOTES   STRUCK   AT  THE   SAME   TIME. 

Megro-    ■  j   S:  ■!■ 


181 


STUDY  XXVII 


!*i  r*i  n  n  J^  iJ5  Jl  &/*i  n  fs  Hi  pi  h  ;h  ^ 

T  *      Jor — ^- — ^  — # ^ — - — ^_ — £_ — ^ — 0 —    — # — xpr — « x 


fee 


:dfe 


X 


i — :r~r 


f 


4ff- 


&&J 


n_n 


» — B~» — ! 
-53 fc^" 

6     B     t:     £ 


i 


"»~(      pt~ 


if  !V 


:^ 


T~ 


»=P 


ft.         -£-         A 

•0-0-    -#•-•-    >-»-      - 
»-# — »-» — 0-0-r-r- 


EE8 


*_|_4«,J__fc_i_*ft 


— e« a 


§=£ 


4 


£ 


-r- 


Li — r 


E=F 


r~ 


p — ra — p- — t 


IE:: 


n  n  n 

UWJ    ft*    1 

« 


5 


£0 


» 

~wr 


?4= 


IP 


— H!F  3EE3i= 

err- 

p^' 


r*j   r*i  h  p. 

T  Ul     *        •        If 

« « S- 


4#-2  [ 


$0* 


J3  4#n,#n  ,r  ^ 


P* 


P 


r~ 


jj:^r 


x§j*rsjKp 


* 


xx 


£& 


S 


_      r 

~» V 

rzzft- 


^^f^-p^p-f^^- 


~tr 


'       '         '         #  *       XX1*  XX     ~#~ 


se^ee^-j; 


-p-r 


fw 


r     t2 


*-f- 


xx 


# 


— ^ — « — 5 — * " — •. — " — « « 

:z=Jz:=«f =J=z«?:  :=Sz=^— 2~ #?: » 


~wr — »___g_;~»" 


"i         r 


wMpu  ^-m 


? 


^ 


E 


U3r^tp 


~e- 


:3E 


jE32 


— s>- 


::gE: 


STUDY  XXVIII 


r 


f    Y    f 


^,^03: 


Moderate 


183 


ff 


*>  0 
0-m- 


-0T0- 


•  ••••••' 

-0-0-0-0- 


— ^-^-^-i-^-*,-^- 1— 1*~ r— i-r — •  *  «  *-•  0-0-0-0-0-0-0- 


i    i   i 


W-¥-W*rJ&-*&- 

»-0-0- 0-0-00  «iii- 
■+— p  i  I    rr  rr.  inn  j 

-#-#  0  0-0-0-0-0-  0*00 


Z^Ztttt 


*H*&mt& 


EfiE 


-0-0-0  0-0-0-0  0- 


■ttfe 


1 «-« ■#  •-•-•-•h«l-#— •— •—«—- ■—  0c0r0rm-m  00-0-      '     '     ' 


iifUk 

pppp  ppy 


-M*M»»l-t  00  I 

»H0-»H 


-0  0  0-0-0-0-0 
Tff 


„   ■  - 


eppp: 


000000  •  # 

■0-0-W-0-W-0  0  0 
0  0  0  0    0  0  0-0 


ygrgg 


gBSL-g_C££CECE- 

•  *  •  0   ^0  **  ^0  ^0   *  e  00 

tfflm  •J1*  f  WW1 

h-h    I  I  I  !  cca 

-TTT  — «-»  f  fg"gg  £ 


o  *  •  #: 

T»  0  0  |0" 

■irrfr 


-»— »— »— # 


TTTT 
"V  000 


t  rfr  pfpp>>-3* 


ti 


£ 


rFFFF  "ffff fggg  ' 


0  V  0   0     0  0   0   0      0 


m^ffl 


"#--»- 


S£ 


TrT- 

-Trrr 
i  i 


*TO*P 


®:   gfgg  g  C~g  g-ffff 


-fftr 

-0-0-0   0 

~irlpi»1»~ 


0  0  0  0 


•-++?+,& 


— I — i — I — t 1 1 1 1 — i — r~ 

10  0 


3*-!*-£-»  0  0  0 
0   0   0   0      0   0    0   0 

LI 


0  0  0  4 


-#    ■#■ 


:^p  •flir.Trzrr.r- 
"-»  m-»-»-»  0-0— 


-m-wnrmr 

-0  0-w-m- 

i  LLL1 
pppp 


gr  r  rrrnE 

J0-^0-*»-*»-0  0  0  0 


00  00 

0  0  (J  0 


0 


■#— P 


JEHlHiE 


^gf^ppffj^J,; 


£ 


0000 


0  0 

0  0   0 


"B£ 


-J 

'0 

0 


JBt£teH 

0  00  »-#L.-#L,-#L,-»» 

••-»  «  0 — •— r— -r— r- 
i    i    r  i i 


45BBEBSE 


184 


EXERCISE 

PREPA1UTOKY 
TO  THE  STUDT 
OF  THE  TKILL. 


TEN. 

is??: 


Allegro. 


STUDY    OF    THE    TRILL. 

-t— a- 


1 1 r—   i       — 1 — ~r     i      i 


~    i     i   -i        r— i     f — i 1 


:zt_zl 


"l r 


'JZZ 


TEN 


s 


^: 


:Sfc*: 


g — g» 


-s>- 


E^SS 


I3Z2Z3 


^^ffi 


^IS 


SSHa 


-«  ■  a 


-sff-S-1- 


3  „  3 


2  °  2 


«^ 


gE* 


^ezp* 


=g 


EPE 


4  3 


P^P^ph 


mm 


E5SSS3 


-flJ-8-L 


-s* 


^ffi 


£*£»- 


?£E£ 


MfeQ 


i — rr~r~nr 


1   t    rTTT T^ 


WS5 


EZZLJ 


^gfe 


4-«fc»Jt»| 


^fe*fii 


— _ZiLt 


#» 


:zsj 


I22I 


'■+&& 


:25 


f^f 


lis: 


ragpffis* 


t— :^ 


— A_ A_         A  _ 

r    i      r       I      r    I      i 1 


_^_ »— A__ A        _A 


i r~ 


~r     i       i 


g£ 


_A 


A A 


_A_ 


A 


-eE- 


P^E 


S=£=E 


S=£ 


n — r 


i r 


I 


g?II3m=e 


c^j: 


J 


^__ 


221 


p— y 


^ 


££££££E 


•—&-+-&-*- 


=T=P-4: 


T~ 


^ 


"i         r        r 


~i        i 


i         r 


•■-. 


186 


Lento. 


~i — i    i    i    i 


ff-rf'fftfifftffrff 

~> — i — : 1 1 1 1 ■ — i 1 1 i 1 — i 1 — 


i    i — i    I — i    r 


4    3 


jj     r 

4    3 


gg 


1    i     — I     I    J    i    i        i    i    i    i     i  '  i    i — r 


4    3 


4    3 


-<S>- 


xr.!?r»it«iz!*zaz!?: 


r"i    i    i    i 

— i — i — i — r~ 


T-r-rP-wrP-wrp- 
en    £—<    r^r-r-f— 


'i    r 
x   1 

x 

-«> — 


— I — i — r 


:C!?z#~"i*'_»i?z»i!?: 


T     I     r^r- 1" i     r-  r 


"i — i — i — i — i — i — r 


-wrP-w~P~9~P~»-f' 


j i i    i i     r 


'I — I — 1~ i     i     r 


*=£:?zezBzez9-r 


"r~ i     ii     ri     r~r 
1 — i    i    i — i — i — i — r 


;cr— 


3 — I    M    rT"r-rr 
r~i — r— i — rrr-r 


1 — I — I —     l     i     i — l — r~       ~~ I — E3 1 —  i 


^•j — r 

4    3 


B~0~B~P~B~f~B~f' 
EZCZr-r-  rnzc 


WZ&ZJC&ZKZfZM: 


T    i     I     i     i     r 


Pf  NfPfTf:  Effig  ?:f= 


"i — i — i — i — i — i — 1 — I — i — < — rrr 


"i    i    i — r 


f 
I 


"i~r~(—r 


i    rn — r~i — r~i — i  r~i — < — r~i — r  r  tr~i — rn — r~i — r~r- 

j     i     i       (— i — i — r-     I — i — i — I 1 — I — r- 1 — l_] — i — ! — i 1 1 — r~ 


i    i     ~i    r~r 


4    3 


IT 

-2J-J- 


S5: 


:i^J: 


|  I        I        I        I  I        I        !        I  I"      I         I        I  I        I        I        I 

4     3    1 

J  J  J  J  ,  d  j  4  ,J,..d  J  f  J., 4  i»  ,«t  #,  «r  f  J>  J 


^a 


3=Se^^; 


JTTj  J7T3  -WJ£ 


3i    i    i"  'i 
=«Ej*£j:- 


4       * 


M 


^=^:zJ.Hz:j=4zj:zj'zg 


aQ 


i     i     i     i     i 


dEmjm 


affiS 


i    i    i 
J LX-J. 


:?zj9zl?-- 


-X- 


»L 


-0-B—B—0-~B~  ~B-9-B 


j5?ZI 
-4 


II  III 

44044  4-4-4- 


3ES: 


,n_jg_jg^ 


zzz?  zzzszizz 


STUDY     OF    THE    TRILL. 


Lento. 


I 


EXAMPLE  OF  TRI1LS  WITH  DIFFERENT  TERMINATIONS. 

1 tr . ...      It R=9 


s-e— ®— =J 


_      BJ 

rg~zzzz 


-<s>- 


-o 


I'M 


-s>- 


Jl 


ISZZZ] 


-<s>- 

-Gh 


hN-i^- 


:s>: 


~&OZZ- 


122: 


o2 


186 


jSjEa 


M 


'■L'..,l,'-.^n 


g 


jffl 


7&—Z: 


-& — **- 


:  zez;: 


mf 


r»r 


.I'll 


= 


:«a: 


Lento. 


§ 


e 


a) 
S3 


dbg — 


-«- 


jfejgggi 


£iz 


4- 


¥ 


53= 


^ 


P 


"^r 


I22~ 


(1) 

The  trill  may 
be  sometime! 
prepared  by  a 
grace  note 


Allegro. 


-x  3  i-4 — x- 


EBEBB& 


E 


^^^E^^aegssag 


:zzs: 


qi: 


3E 


(2) 
When  a  tril! 
is  very  long, 
the  fatigue  may 
be  avoided  by 
changing  the 
finger* 


ETEKCISE 
ON  THE  TRILL 

FOR  THE 
RIGHT  HAND. 


iEi 


Allegro. 


-«- 


# 


— <s>- 


:s: 


Vj^VikJkgg  *■  J- 


-e- 


Wkz 


-G>- 
\--<S>- 


1521 


-&- 


-S2- 

Zffi 


®~ 


( 


I 


i.  fl  aji  i_n 


tr 

JBL 

-a- 


4 


tr 


5 


4 H     » 


s 


«£. 


XI 


S: 


i - 


-&- 


*A 


x 

-es» 


i— <S>- 


"JSL 


2 

Ifflt 


iLsI 


-(SL  1 


JUL 


rT 


187 


Andante. 


EXERCISE 

ON  THE  TRILL, 

FOR  THE 

LEFT  HAND. 


s-e— 


IT 


-4— 


ife 


*C        ST 
HB- 


^ 


s a: 


i 


Jr. 


eE3 


i^za 


sb^J 


-s> — a- 


te^f 


rxj 


*h± 


Z22I 


IX2XI 


* 


iL 


J-^L 


fcft 


1X01 


JLXaJL. 


J- 


-»- 


JUL 


*iai- 


-o- 


2 


J£ 


JSL 


m 


^ 


1&Z 


£ 


^sE 


2z: 


22: 


-iS- 


i: 


Z 


-sk- 


ip 

■«>— 
x: 


A 


tr 

3BL 


_te_ 


-<s>- 


•g- 


SEE 


-®- 


-S>- 


:;r 


S33BEE 


%$H 


-^-sHr1 


S 


x  2 


TJT 


feaftti 


* 


1 — r 


:^TT 


:x=5"J 


ip: 


i=i 


a 


=M£f 


&lJ£ 


-p 


4£ 


JX 


.2ir 


«2z 


MEASURE 

THE   TRILL   BY 

MARKING  THE 

FOCIt   BEATS. 


r  1    r  1     r  r    ftj    ft]     r  1    r  1    r  1   3ftJ 


> 


-7»~iT1r~iT#~(iT»T#T3E 


S^-tr- 


13  Allegro  Moderato. 


m 


~* — ^~ -" 


1  1 


rftTf--^- 


IX 


£ 


s 


Zl. 


£ 


r- 


tr-. 


m* 


-F- 


-* 


-F-J- 


* 


-F— -- 


:sz 


^_ 


k«2- 


_• #_ 


i=E 


-# — 0- 


~.    r 

r 


P 


£ 


gp    — #r=^~ 


p 


±? 


rSEE|: 


188 


Lento. 


ft 


tr — aLp 


tr 


& 


^ 


33T 


^3 


"2" 


gpoi 


#=*£ 


sfc. 


"n?' 


* 


f^g^- 


& 


S=ft 


ll 


::se=::jj 


tr 


22 


J21 


t        r 

_P       I 


s 


ri-jjE- 


-#-       -•-       -iS> 

-» — » — T=> 


— I 0 — 0 


. tr.. 


tr 


*c 


4=- 


-(t 


g; 


^S=#!=s£ 


:sfi 


? 


-tc 


icfe 


^--#J---^- 


:«*- 


1=1= 


W 


:°=» 


ft 


nM- 


nr 


- 


!5? 


I» »" 


"ff"      Is" 


f 


be: 


:p=3 


s 


£ 


I 


xs 


-£1  C    ^ 

jp — ■ — g?~ 


3 


3ZZISZIDG: 


-®-. 


-0-2- 


_fc. 


— r 


Jjl 


fr  q 


.-#> 


tr 


M 


Lento.  ■ 


tat 


"gr~ : 


tr> 


gEg 


mx: 


-F: 


itip 


T-x: 


-<s>'- 


$£ 


SS 


iE* 


ISC 


rrl 


-*- 


M- 


P 


&Q 


P    P    "Ul 


i 


14 


Jr_! 


-i* 


"2 3 


^ 


1 2 — 3-jt 


3" 


S 


6 

tr          P    "TZ 
/            I   ■      E         ' '               "J* 

"  1    ■■='  1  ' '           [- 

"  -     .  p    |  ^- — "              r 

.         ! 

S     gj 

._ ...    _#      _,#     -lr  1  —     — 1 

— -1=1=3== 

«        0          !     1 — 

1&4-             — 

-f-      -P-       tr, 

L     P          'p-P- 

3HSFT3  3 

v=t               *b    *i     0    jJ 

^=— p^pca: 

'  »       w      0     JJ 

4? 

v  '     »     "s? — :~r 

1         -.<"\_> 

— v^_ 

L — s>-5 — CJ 

Lento. 


i 


Jr. 


-p— Qg — i^~ 


r?rrEE3 


HBiS 


z; 1-3- 


a 


£ 


-r-j- 


s 


£: 


2323 

-«- J-J- 


3-©". 


f — r 


TRILLS 

FOR 

BOTH 

HANDS 


tr  P 


%t 


^9r 


& 


4 


it 


fr 


_cr m- 


_C2. 


"3TS" 


j= 


TRILLS, 
DOUBLE 

AND 
TRIPLE. 


2323 

JtXiX. 


r — tr- 


Sij&=gzz3j: 


tr 

tr 
\<S>- 


-X"9" 


e -« 


34343    «3 

JLX1XJ_4-I- 


-tr— 

e: 


tr 


s- A 


vs- 


4 

3z: 


2323 
1X1X   _ 

— be — e 


-e— s- 


^ 


:xi_ 


-tr- 


^^ 


1J2.  JjL 


:s; 


34343 
1x1x1 


^,-3 


3434 
1X1 X   »« 


&.      -3 


1^ 


:s: 


.El1 


Z2Z 


— re* a-» 


O 3T 


:4: 


4 


-o- 


4 


_tr. >a 


zx. 


Z&=3± 


"f     tr 


xs; 


-<s>- 


34343    93 


•J  3 


34249434 


189 


-W 


tr 


5%= 


J^  ji 


_«_ 


ljajj 


LJ_5Lw- 


Ul 


-a — s' 


1= 


1X3ZXTX: 


i"~i~S — i" 


miffflf 


tr 
l-<0- 


TRILLS  IN  SIXTHS, 
SIMPLIFIED  FOE  SMALL  HANDS. 


3  *"3 


\--G>~- 


I 


"2T 


4-<S>- 


TRILLS  IN  SIXTH& 


(1) 

When  a  trill  accompa- 
nies a  melody,  it  should 
be  divided  into  notes  of 
real  value. 


EXAMPLE. 

XFFECT. 

■J- 


g^H 


Allegro. 


i 


'^ 


i 


< 
1 


-te» 


-P-— P-zfcfl- 
•-i — tfri — sj— I — i-*- 


5      tr~  >      I* 


Pr  ff  Pr  Pr 


r 


Allegro. 


TT^ 


23  2  3 


S-s>- 
,-s>- 


321 


p£t£d^££^e^di^tft£p 


£: 


* 


• 
_r~ 


I 


A  TRILL  DIVIDED,  ACCOMPANYING  A  MELODY. 


IKGTHE 


HANDS. 


=^ 


R=FR 


l-i 


XL 


5=f 


g 


(1)      A  TRILL  DIVIDED,  ACCOMPANYING  A  MELODY. 


¥ 


Jr_ 


'2s> : 

r CZr     r 


r 


r 


±j±±±-t. 


^=6=tzrzzr= 

a — Ip~1pH* — »— 


j — r 


X~C 


Jr_ 


-r»-# 


tr 


£_£*£u£ 


-»-»■ 


:»~»~bt*~I»" 


"i~i      r 


~i — r_- 


is: 


Adagio. 


— T~H 


tr 


S 


-F- 


HX 


Ea 


? 


"SF 


3E 


-tr- 


na 


¥~ 


3 


St=*= 


-S>- 


"S5Z 


£#    .  -s 


££ 


r6-^ 


-x-x> 


Andante. 


& 


rz- 


-&- 


& 


ran 


4 


::sz|: 

-i- 


Iffi. 


-ag- 
L-s>- 


Allegro. 

2  3 


190 


3£ 


2 

-tLr 


& 


4 


-«c 


m 


*  *fi 


IZISZZ 


£ 


E2XZZIJ: 


i 


r c g= 

I    I 

—       -*»- 


r r 


:«x: 

3E 


2 

==Ez 


»x  £: 


i 


~zK 


■m- 
zsz 


I 


^y^^:feN=f^^=pfpfff?i^| 


.hot-  raro  pJTO-  ^ro 


i 


■OTPOT-^OTffiS 


is: 


E 


? 


f2-       -*- 


s: 


^-e 


£=: 


Lento. 


if 

2 


5 — "=& 


_a IE Ji u. u 


m 


J2L 


Ir 


M 


X3Q  R-r< 


22" 


EE 


Jx_ 


-<s>- 


.2      32 


H^P? 


#J*X1Q 


ii 


2      33 


Lento 


f°-       !    !R  I    R 

dzzEazzzzirirLzig: 


2 

i 


^fe£a£M 


"55-1 


u 


i, 


-l'^lb" 


~i    n 


f 


^ZIBI 


3 


^ 


Ir 


21         J 


I* 
1 

fr 


21       l 


i±li3to::is^fcaEKOT- 

IT 


F^t 


L     «>  4 


3 


:rT 


1 


i     <* 

3 
4 


1 

a_tr __^ ft-t? -— -  -_ 

33S==rrS5=S'X^T^    ^ 

f- — -^•-#Sr — » ^T-«- LL — 

* ^-S    1      I  **  1         p 


u1 


Allegretto. 

, tn 


_lr_ 


q_--rzD=n. 


2     IX 


jF'-=S3F 


2    IX 


Jr_ 


4 

1 


r 


•unss 


t1 


X 


'■-s=^7kl 


4 


i^ 


-«- 


4 


jj.  U     JJL  £ 


3 


2    IX 


Jr_ 


:S= 


•J^-^^r 


? 


Jr_ 


1 T 


^ 


^      fr-rrfrff^f-rFrff  fr  ff-f  rfrfrtf  frfr 


'.XIX 


_  I >-,  J    l    |  +_|    l    ■    i    i    ^-J^_M-^-     i    |    !    1    i    i    ;    I    1    |  j 


2s: 


:s?: 


+ 


i 


5  • :  1B333B35E1  :^1zrS  thic  .L- 


:  ^^  ~g7X'x p~~  y — 


~l     ~8  3  2 


T¥" 


-<S>- 


91 


SCALES    DIVIDED. 


DAILY    STUDY. 


a 


Allegro. 


X 


'T~r 


2 3 


■&**• 


_- 4 I     '     !     I    A ^.»-FT~  n      ! A 3_  _ 

7Fy/»       x  r""T*1 ^m0  rV  f ,       \l-     ^T^ ST<     _ 


1*~»  ^.  a 

^^        0  3 

RTF  fff-ij     , 


M  l  l 


rjjabtj: 


t~r 


V 


2 


Allegro 


^YnMlfftfl**^  ^** 


^    a 


L    i        X     ?  3 

hi — i        i — i — r~  T  r~i     r  #-_  A a. 

^S — SIX r-r— r-f-# 


i& 


53-7 


0 in^~ ~- 

Li!   v  *  f- 


«3 


A 


ff", 


i — i — i — r 


93 


Practise  these  exercises  in  all  the  keys,  major  and  minor,  observing  strictly  the  fingering,  and  accenting  strongly  each 
beat  of  the  measure. 


DICTIONARY 

OF  ITALIAN,  FRENCH,  GERMAN,  ENGLISH,  AND  OTHER  MUSICAL  TERMS. 


w  Ml  t.)  by,  tmt 
}    jfHjtiLI.ERANPO.  (ft.)  accelerating  the  movement 
!  »CCOMPANIMENT,  a  part  added  to  a  principal  one 
J     by  way  of  enhancing  the  effect  of  the  composition. 

ADAGIO,  (It.)  a  very  slow  degree  of  movement 

A.DAGISSIMO,  (It.)  «xtremely  slow. 

A.D  LIBITUM,  (Lath*,)  at  will,  or  discretion.  This 
expression  implies  that  the  time  of  some  particular 
passage  is  left  to  the  pleasure  of  the  performer;  or, 
that  he  is  at  liberty  to  introduce  whatever  embel- 
lishments his  fancy  may  suggest. 

4FFABILE,  in  a  kind  an4  courteous  manner. 

AFFETTUOSO,  (It    affectionate,  tender. 

AGITATO,  CON  AGITAZiPNE,  (IC  with  agita- 
tion, anxiously. 

AL,  ALL',  ALLA,  (It.)  to  the  j  sometimes,  it  the 
•me  of. 

ALLEGREMENTE,  (It.)  with  quickness. 

ALLEGRETTO,  (It.)  somewhat  cheerful,  but  not  so 
quick  as  allegro* 

ALLEGRETTO  SCHERZANDO,  (.ft.)  moderately 
playful  and  vivacious. 

A  I.I  Ff-REZZA,  (ft.)  joy  j  as,  con sllegrezza,  joyfully 
Hiiunatedty. 

ALLEGR1SSIMO,  (ft.)  extremely  quick  and  lively. 

ALLEGRO,  (II)  quick,  lively.  A  term  implying  a 
rapid  and  vivacious  movement,  but  which  is  fre- 
quently modified  by  the  addition  of  other  words; 
as,  allegro  agitata,  quick,  with  anxiety  and  agita- 
tion, &c.  "Q% 

A.L  SEGNO,  AL  SEG.,  or  the  character  $o#  ,  si^ni- 
aes  that  the  performer  must  return  to  a  similar 
character  in  the  course  of  the  movement,  and  play 
from  that  place  to  the  wordjSnc,  01  to  the  mark  ^s. 
over  a  double  bar. 

ANDANTE,  (It.)  implies  a  movement  somewhat  slow 
and  sedate.  This  term  is  often  modified,  both  as 
to  time  and  style,  by  the  addition  of  other  words. 

ANDANTINO,  (It.)  somewhat  slower  than  andante. 

ANIMATO,  CON  ANIMA,  ANIAiOSO,  (It)  with 
animation,  in  a  spirited  manner. 

A  PIACERE,  A  PIACIMENTO,  (Ic)  at  the  pleasure 
of  the  performer. 

APPOGGIATURA,  (It.)  a  note  of  embellishment, 
generally  written  in  a  small  diameter 

APPOGGIATO,  (ft.)  dwelt,  leaned  upon. 

ARIA,  (It.)  an  air  or  song. 

ARIOSO,  (It.)  in  the  style  of  an  air. 

ARPEGGIANDO,  i  (It.)  pxssages  formed  of  the  notes 

ARPEGGI ATO,     >of  chords  t.iken    In   rapid  succes- 

ARPEGGIO,  )  sion,  in  hmiation  of  the  harp,  are 

said  to  be  in  arpeggio. 

ASSAt,  (IL)  very,  extremely.  This  adverb  is  always 
joined  to  some  otlier  word,  of  which  it  extends  the 
signification;  as,  adagio  ami,  very  slow;  tdlegro 
niMJ  very  quick. 

\  TEMPO,  A  TEM.,  (IL)  m  the  regular  time. 

A  TEMPO  GIQSTO,  (It.)  in  strict  and  equal  time. 

\TTACCA,  ATTACCA  SUtll  i  O,  (It.)  implies  thai 
the  performer  must  directly  commence  the  follow- 
ing movement. 

BALLAD,  a  short  and  familiar  song. 

BARCAROLLE,  (ML)  airs  sun?  by  the  Venetian  gon- 
doliers or  boatmen. 

BEAT,  one  of  the  principal  graces  in  music. 

BEN,  (ft.)  well;  as,  BEN  MARCATO,  (It.)  well 
marked.  This  exprrssion  indicates  that  the  pas- 
sage must  be  executed  in  a  clear,  distinct,  and 
strongly  accented  manner. 

BIS,  (LaL)  twice.  A  term  which  indicates  that  a 
certain  passage,  distinguished  by  a  curve  drawn 
over  or  under  it,  must  be  performed  twice. 

6RILLANTE,  (IL  and  Fr.)  an  expression  indicating 
a  showy  and  sparkling  style  of  performance. 

IRIO,  BRIOSO,  CON  BRIO,  (It.)  with  brilliancy 
and  spirit 

BR1SE,  (Fr.)  sprinkled,  broken  into  arpeggios. 

CADENCE,  a  close  in  melody  or  harmony  ;  an  orna- 
mental and  extemporaneous  passage  introduced  at 
tne  close  of  a  song  or  piece  of  music. 

CADENCE,  (Fr.)  a  shake  ;  also,  a  cadence  in  harmo- 
ay  ;  as,  cadence  parfaite,  a  perfect  cadence  ;  cadence 
rotnpue,  an  interrupted  cadence. 

CADENZA,  (It.)  a  cadence,  or  close,  at  the  termina- 
tion of  a  song  or  other  movement,  introducing  some 
fanciful  and  extemporaneous  embellishment. 

CALANDO,  (IL)  gradually  diminishing  in  tone  and 
quickness. 

CALORE,  (ft.)  with  much  warmth  and  animation 

CANONE,  (ft.)  a  canon  or  catch  for  several  voices  or 
instruments. 

CANON,  a  species  of  uninterrupted  imitation. 

CANTABILE,  (It.)  in  a  graceful  and  singing  style. 

CANTANTE.  (It.)  a  part  to  be  executed  by  the  voice. 

CAPELLA,  ALLA,  (ft.)  in  the  church  style. 

CAPO,  (ft.)  the  head,  or  beginning. 

CAPRICCIO,  (ft.)  a  fanciful  and  irregular  species  of 
composition. 

CATCH,  a  vocal  piece  in  several  parts,  of  a  humorous 
character. 

CAVATlNAj  (ft.)  an  air  of  one  movement  or  part 

only,  occasionally  preceded  by  a  recitative. 
JNANT,  (Fr  )  a  song  or  melody  ;  the  vocal  part. 

CHE,  (ft.)  than  :  as,  poc«  piu  che  andante,  rather  slow- 
tr  than  andante. 

uriROMATIC,  proceeding  by  semitones,  or  formed 
by  means  of  semitones. 

CODA,  (ft.)  a  lew  bars  added  at  the  close  of  a  com- 
position, beyond  its  natural  termination. 

HOLLA  PARTE  (It.)  implies  that  the  accompanist 
n'lst  follow  the  principal  part  in  regard  to  time. 
•  CON,  (ft.)  with  ;  as,  con  2sprcssione,  with  expression  ; 
son  brio,  with  brilliancy  and  spirit. 

CON^ENTO,  (ft.)  concord,  agreement.  A  selection 
of  pieces  is  sometimes  so  called. 

CONCERTO,  (ft.)  a  composition  intended  to  display 
the  powers  of  some  particular  instrument,  with  or- 
*4«etra'  accompaniments. 

DOLCEZZA.  (/«•)  with  sweetness 


CON  DOLORE,  (IL)  mournfully,  with  pathos. 

CON  GRAVITA,  (ft.)  with  gravity. 

CON  GRAZIA,  (IL)  with  grace. 

CON  GUSTO,  GUSTOSO,  (It.)  with  taste. 

CON  IMPETO,  (IL)  with  impetuosity. 

CON  MOTO,  (ft.)  in  an  agitated  style,  with  spirit 

CON  SPIRITO,  (It.)  with  quickness  and  spirit 

CRESCENDO,  or  CRES.,  {It.)  with  a  gradually  in- 
creasing quantity  of  tone. 

DA,  (IL)  by. 

DA  CAPO,  or  D.  C,  (IL)  from  the  beginning;  an 
expression  which  is  often  written  at  the  end  of  a 
movement,  to  indicate  that  the  performer  must  re- 
turn to  and  finish  with  the  first  strain. 

DAL,  (ft.)  by  ;  as,  dal  segno,  from  the  sign  ;  a  mark 
of  repetition. 

DECRESCENDO.  (ft.)  gradually  decreasing  in  Quan- 
tity of  tone. 

DELICATEZZA,  (ft.)  delicately;  as,  eon  dehcateiza, 
with  delicacy  of  expression. 

DELICATO,  (ft.)  delicately. 

DIATONIC,  (Greek,)  naturally  ;  that  is,  according  to 
the  degrees  of  the  major  or  minor  scale,  or  by  tones 
and  semitones  only. 

DILUENDO,  (IL)  a  gradual  dying  away  of  the  tone 
till  it  arrives  at  extinction. 

DIMINUENDO,  or  DIM.,  (ft.)  implies  that  the  quan- 
tity of  tone  must  be  gradually  diminished. 

DI  MOLTO,  (IL)  an  expression  which  serves  t**  aug- 
ment the  signification  of  the  word  to  which  it  is 
added  ;  as,  allegro  di  motto,  very  quick. 

DIVERTIMENTO,  (ft.)  a  short,  light  composition, 
written  in  a  familiar  and  pleasing  style. 

DOLCE,  or  DOL.,  (ft.)  implies  a  soft  and  sweet  style. 

DOLCEZZA,  or  CON  DOLCEZZA,  (IL)  with  sweet- 
ness and  softness. 

DOLCEMENTE,  (ft.)  in  a  sweet  and  graceful  style. 

DOLOROSO,  (A.)  indicates  a  soft  and  pathetic  style. 

E,  ED,  the  Italian  conjunction  and;  as.  Jtaulo  r  rioli- 
no,  flute  and  violin  ;  nob'dimtnU  vd  animato,  with 
grandeur  and  spirit 

ELEGAMENTE,  ELEGANTE,  (IL)  with  elegance. 

ELEGANZA,  (IL)  with  elegance,  gracefully. 

ENERGICO,  CON  ENERGIA,  ENERGICAMEM- 
TE,  (ft.)  witn  energv. 

ESPRESSIVO,  or  CON  ESPRESSIONE,  (It.)  with 
expression. 

ESTRAVAGANZA,  (IL)  extravagant  and  wild,  as  to 
composition  and  performance. 

FACILITA,  (It.)  a  facilitation,  an  easier  adaptation. 

FANTA1SIE,   (Fr.)   )   a  species  of  composition   in 

FANTASIA,  (ft.)  i  which  the  author  gives  free 
scope  to  his  ideas,  without  regard  to  those  system- 
atic forms  which  regulate  other  compositions. 

FINALE,  the  last  piece  of  nny  act  of  an  opera,  or  of  a 
concert ;  or  the  last  movement  of  a  symphony  or 
sonata,  in  the  German  style. 

FINE,  (ft.)  the  end. 

FORI  E,  or  FOR.,  or  simply/.,  (ft.)  loud. 

FORTISSIMO,  or  ff.,  (It.)  very  loud. 

FORZANDO,  or  FORZ.,  or  fz.,  implies  that  the  note 
is  to  be  marked  with  particular  emphasis  or  force. 

FUOCO,  CON,  (It.)  with  intense  animation. 

FURIOSO,  or  CON  FURIA,  (ft  )  with  fire. 

GAIEMENT,  (Fr.)  in  a  cheerful  and  lively  style. 

GALLOPADE,  (Fr.)  a  galop;  a  quick  German  dance 
tune. 

GALOP,  (Qer.,)  GALOPPE,  (Fr.)  a  quick  species  of 
dance,  generally  in  2-4  time. 

GIUSTO,(ft.)  in  just  and  exact  time. 

GRACES,  occasional  embellishments,  sometimes  in- 
dicated by  the  composer,  sometimes  spontaneously 
introduced  by  the  performer.  The  most  Important 
of  these  are  the  appo^giatura,  the  turn,  and  the  shake. 

GRANDIOSO,  (ft.)  in  a  grand  and  elevated  style. 

GRAN  GUSTO,  (ft.)  in  an  elevated,  grand  style. 

GRAVAMENTE,  (It.)  dignified  and  solemn. 

GRAVE,  (R.)  the  slowest  degree  of  movement ;  also, 
a  deep,  low  pitch  in  the  scale  of  sounds. 

GRAVITA,  (ft.)  gravity ;  as,  con  gravita,  with  grav- 
ity. 

GRUPPETTO,  (ft.)  a  group  of  notes  ;  a  turn. 

GRUPPO,  (ft.)  a  turn,  or  grace. 

GUSTO,  GUSTOSO,  or  CON  GUSTO,  (ft.)  with 
taste,  elegantly. 

IL,  (ft.)  the. 

IMITAZIONE,  (ft.)  an  imitation. 

IMPETUOSO,  (.ft.)  with  impe'uosity,  impetuously. 

IMPROMPTU,  (fV.)  an  extemporaneous  production. 

IMPROVISARE,  (ft.)  to  compose  or  sing  exieiapora- 
neously. 

IN,  (IL)  in  ;  as,  in  tempo,  in  time. 

INNOCENTE,  INNOCENTEMENTE,  (IL)  in  an 
artless  and  simple  style. 

INTERLUDE,  an  intermediate  strain  or  movement. 

INTRADA,  INTRODUZIONE,  (ft.)  a  short  intro- 
ductory movement. 

ISTESSO,  (ft.)  the  same  ;  as,  i*e*rso  tempo,  the  same 
time. 

LARGHETTO,  (ft.)  indicates  a  time  slow  and  meas- 
ured in  its  movement,  but  less  «o  than  Largo. 

LARGHISSIMO,  (ft.)  extremely  slow. 

LARGO,  (ft.)  a  very  slow  and  solemn  degree  of 
movement. 

LEGATO,  (It.)  in  a  smooth  and  connected  manner. 

LEGATISSIMO,  (ft.)  exceedingly  smooth  and  con- 
nected. 

LEGEREMENT,  (Fr.)  with  lightness  and  gayety. 

LEGGIARDO,  (ft.)  light,  gentle. 

LEGGIERAMENTE,  (1l)  lightly,  gently 

LEGGIERO,  or  CON  LEGGIEREZZA,  (ft.)  with 
lightness  and  facility  of  execution. 

LEGGIERISSIMO,  (IL)  with  the  utmost  lightness 
and  facility. 

LENTANDO,  (ft.)  with  increasing  slowness. 

LENTEMENTE,  LENTO,  (IL)  in  slow  time. 

LIAISON,  (Fr.)  smoothness  of  connection;  aiso,  a 
bind  or  tie. 

LOCO,  (Lot.)    This  word  implies  that  a  passage  is  to 


be  played  Just  as  it  is  written  in  regard  to  pitch ;  It 
generally  occurs  after  8»a  alta,  or  Sva  basso. 

MA,  (ft.)  but ;  as,  allegro  ma  non  troppo,  quick,  but  not 
too  much  so. 

MAESTOSO,  (ft.)  with  majestic  and  dignified  expres- 
sion. 

MAIN,  (Fr.)  the  hand  ;  as,  main  droite,  main  gauche, 
orM.  D.,M.  Q.,  the  right  or  left  hand  in  piano  music. 

MARCATO,  (ft.)  in  a  marked  and  emphatic  Btyle. 

MARCIA,  (ft.)  a  march. 

MARZIALE,  (IL)  in  a  martial  style. 

MELANGE,  (Fr.)  a  composition  founded  on  several 
favorite  airs  ;  a  medley. 

MEME,  (Fr.)  the  same  ;  as,  meme  movement,  in  the 
same  tune. 

MESTO,  (ft.)  mournfully,  sadly,  pathetically. 

MBSTOSO,  (It.)  sadly,  pensively. 

METRONOME,  (Fr.)  an  ingenious  instrument  for 
indicating  the  exact  time  of  a  musical  piece  by 
means  of  a  pendulum,  which  may  be  shortened  or 
lengthened  at  pleasure. 

MEZZO,  (It.)  in  a  middling  degree  or  manner ;  as, 
mezzo  forte,  rather  loud  ;  mezzo  piano,  rather  soft. 

MEZZO  CARATTERE,  (ft.)  implies  a  moderate  de- 
gree of  expression  and  execution. 

MODEBATO,  (IL)  with  a  moderate  degree  of  quick- 
news. 

MOLTO,  (ft.)  very,  extremely  ;  as,  motto  allegro,  very 
quick  ;  molto  adagio,  extremely  slow. 

MORCEAU,  (Fr.)  a  piece  or  musical  composition  of 
any  kind. 

MORDENTE,  (It.)  a  beat  or  transient  shake. 

MORENDO,  (ft.)  gradually  subsiding  in  regard  to 
tone  and  time  ;  dying  away. 

MOSSO,  (ft.)  movement ;  as,  piu  mosso,  with  more 
movement,  quicker. 

MOTO,  or  CON  MOTO,  (ft.)  with  agitation. 

MOVIMENTO,  (ft.)  time,  movement. 

NOI1ILE,  NOBILIMENTE,  (IL)  with  nobleness, 
grandeur. 

NOTTI'RNO,  (It.)  a  composition,  vocal  or  instrumen- 
tal, suitable  for  evening  recreation,  from  its  elegance 
and  lightness  of  character. 

O,  (ft.)  or;  as,  fiantn  o  violino,  flute  or  violin. 

OBL1GATO,  or  OBLIGAT1,  (ft.)  a  part  or  parts  of  a 
composition,  indispensable  to  its  just  performance, 
and  which,  therefore,  cannot  properly  be  omitted. 

OTTA VA;  or  8va,  (ft.)  an  octave.  This  word  is  gen- 
erally joined  with  alta  or  bnssa;  the  first  signifies 
that  itie  passage  to  which  it  is  applied  must  be  played 
an  octave  higher  than  it  is  written  ;  the  second,  that 
it  mnet  be  played  an  octave  lower. 

PASSIONATE,  (ft.)  in  an  impassioned  manner. 

PATETIOO,  (ft.)  pathetically. 

PATHETIQUE,  (Fr.)  pathetic 

PASTORALE,  (ft.)  a  soft  and  rural  movement. 

PEDALE,  (ft.)  a  pedal  or  stationary  bass.  In  piano 
music,  this  term  implies  that  the  performer  must 
pre**  down  the  pedal  «  hich  takes  off  the  dampers. 

PERDENDO,  PERDENDOSLor  PER  DEN.,  (ft.)  im- 
plies a  gradual  dimiii'iiiii'i,  both  ;n  the  quantity  of 
tone  and  speed  of  movement. 

PEIJ,  (Fr.)*  little. 

PHRASE,  a  short  musical  sentence  containing  an  in- 
complete ide.t. 

PIACERE,  (ft.)  will,  pleasure;  as,  a  piacere,  at  the 
performer's  pleasure  in  regard  to  time. 

PIANISSIMO,  or  pp.,  (ft.)  extremely  soft. 

PIANO,  or  p.,  (ft.)  soft. 

PIU.  (ft.)  an  adverb  of  augmentation;  as,  piu  presto, 
quicker;  piu  piano,  softer. 

P^ANTI  VO,  (ft.)  expressively,  plaintively. 

PLUS,  (Fr.)  more;  as,  plus  anime,  with  greater  ani- 
mation * 

POCO,  (Vr.)  a  little,  rather,  somewhat;  as,  poco  pres- 
to, rather  quick  ;  poco  piano,  somewhat  soft 

POCO  A  POCO,  (ft.)  by  degrees,  gradually  ;  as,  poco 
a  poco  crescendo,  louder  and  louder  by  degrees  ;  poco 
a  poco  diminuendo,  softer  and  softer  by  degrees. 

POI,  (IL    then  ;  as,  piano  poi  forte,  soft,  then  loud. 

POLACCA,  (IL,)  POLONAISE,  (Fr.,)  POLONOISE, 
(Fr.)  a  slow,  Polish  dance,  in  U-4  time,  of  a  pecul- 
iar rhythmical  construction,  as  the  melodtal  mem- 
bers usually  terminate  on  the  third  crotchet  of  the 
bar. 

POMPOSO,  (ft.)  in  a  grand  and  pompous  manner. 

PORTAMENTO,  (ft.)  the  manner  of  sustaining  and 

•  conducting  the  voice ;  a  gliding  from  one  note  to 
another. 

POSSIBILE,  (ft.)  possible  ;  as,  piu  forte  possibile,  as 
loud  as  possible. 

POTPOURRI",  (Fr.)  a  fantasia  on  favorite  airs. 

PRECIPITATO,  (ft.)  in  a  hurried  manner 

PRECISIONS,  (IL)  with  precision,  exactitude 

PRELUDIO,  (it.)  a  prelude  or  introduction. 

PREMIERE,  (Fr.)  first ;  as,  premiere  fois,  first  time. 

PRESTISSIMO,  (ft.)  the  most  rapid  degree  of  move- 
ment. 

PRESTO,  (ft.)  very  quick. 

PRIMO,  (ft.)  first;  as,  violino  primo,  first  violin  ;  tem- 
po primo,  in  the  first  or  original  time. 

OUADRILLE,  (Fr.)  a  French  dance. 

QUASI,  (IL)  in  the  manner  or  style  of;  as,  quasi  alle- 
gretto, like  an  allegretto. 

dUIETO,  (ft.)  with  calmness  or  repose  ;  quietly. 

RADDOLCENDO,  RADDOLCENTE,  (IL)  with  aug- 
mented softness. 

RALLENTANDO,  (ft.)  implies  a  gradual  diminution 
in  the  speed  of  the  movement,  and  a  corresponling 
decrease  in  the  quantity  of  lone. 

RAPIDO,  (ft.)  rapidly. 

REFRAIN,  (Fr.)  a  burden  or  tig-end  to  a  song. 

F.INFORZANDO,  RINFO!iZATO,  or  rinf.,  or  rf., 
(It.)  with  additional  t/;ne  and  emphasis. 

RITENENTE,  RITFWUTO,  (IL)  a  keeping  back,  a 
decreaae  in  ae  »>eed  of  the  movement. 

ROMANCE,  (*>.,)  ROMANZA,  (ft)  a  short,  lyric 
tale,  s.t  to  ..nisic  .  or  a  .-i:np!e  ami  elegant  melody 
luitab'e  to  such  wonlt^gpPj  ^^^tw 

•*0f  TOT       ^ 


RONDEAU,  (*>.,)  RONDO,  (IL)  a  compoaltien   * 

several  strains  or  members,  at  the  end  of  each  a 

which  the  first  part  or  subject  is  repeated. 
SCHERZANDO,  SCHERZANTE,  SCHERZOSO.m 

SCHERZ,  (ft.)   in  a  light,  playful,  and  ifwrlivi 

manner,      w 
SEGNO,  or   55,  ,  (ft.)  a  sign  ;  as,  at  segno,  return  i% 

the  sign  ;  dal  segno,  repeat  from  the  sign. 
SEGUE,  SEGUITO,  (ft.)  now   follows;  or,  as  r„ 

lows ;  as,  segue  tl  coro,  the  chorus  follows  ;  *rgu«  U 

finale,  the  finale  now  follows.     It  i*  also  used   in  the 

sense  of  in  similar  or  like  manner,  to  show  that  n  sub 

sequent  passage  is  to  be  played  Iiko  that  which  pre- 

cedes  it 
SEMPLICE,    SEMPLICEMENTE,   (ft.)   with    riw 

pticity,  artlessly. 
SEMPRE,  (ft.)  always;  as,  sempre  staccato,  alway* 

staccato  or  detached;  sempre  forte,   always   loud; 

sempre  piu  forte,  continually  increasing  in  tore*'. 
SERIOSO,  (IL)  in  a  serious  style. 
SERPEGGIANDO,  (ft.)  gently  and  si';ntly  creeping 

onwards,  quietly  advancing. 
SFORZATO,  SFORZANDO,  or  sf,  (IL)  implies  thai 

a  particular  n'le  is  to  be  played  with  dmpnasM. 
SICILIANA,  (ft.)  a  movenfent  of  a  slow,  soothing 

pastoral  character,  in  6-8  time,  resemb'ing  a  <i.ni<t 

peculiar  to  the  peasantry  of  Sicily. 
SINFON1A,  (IL)  a  symphony  or  orchestral  compost 

tion  in  many  parts     - 
SLENTANDO,  (ft.)  a  gradual  diminution  in  the  tin.* 

or  speed  of  the  movement 
SMORZANDO,  (ft.)  a  gradual  diminution  as  to  tono. 
SOAVE,  (ft.)  in  a  soft,  sweet,  and  delicate  stj  le. 
SOGGETTO,  (ft)  the  subject  or  theme. 
SOLI,  piural  of  SOLO,  (ft.)  implies  that  two  or  more 

principal  parts  play  or  sing  together.    Such  parts,  of 

course,  are  never  doubled. 
SOLO,  SOLA,  (IL)  alone 
SOLO,  (ft.)  a  composition,  or  even  a  passage,  for  • 

single  voice  or  instrument. 
SONATA,  (ft.,)  SONATE,  (Fr.)  a  composition  eon 

sisting  of  several  movements,  generally  for  a  single 

principal  instrument,  with  or  without  accompani- 
ments. 
SOSTENUTO,  or  SOST.,  (ft.)  sustained,  conunuowt 

in  regard  to  tone 
SPIRITO,  CON  SPIRITO,  (It.)  with  spirit. 
SPIRITOSO,  (ft.)  with  great  spirit 
STACCATO;  (IL)  implies  that  the  notes  are  to  b« 

played  distinct,  and  detached  from  one  another. 
STESSO,  (ft.)  the  same. 

SUBITO,  (ft.)  quicxly  ;  as,  volti  subito,  turn  quickly. 
SUITE,  (*V.)  a  series,  a  collection ;  as,  une  suite  At 

pieces,  a  series  of  lessons. 
SYNCOPATE,  (IL)  iu  a  constrained  and  syncopate* 

style. 
SYNCOPATION,  the  connecting  the  last  note  of  ont 

bar  to  the  first  note  of  the  next,  so  as  to  form  hot 

one  note  of  a  duration  equal  to  both  ;  this  displaces 

the  accent,  and  produces  a  peculiar  effect 
TACET,  (Lat.)  implies  that,  during  a  movement,  o» 

part  of  a  movement,  some  particular  instrument  u 

to  be  silent ;  aa,Jlauio  tacit,  the  Mute  is  not  to  play 
TANTO,  NON.  (ft.)  not  so  much  ;  not  too  much 
TARDO,  (It.)  slowly,  m  a  drugging  manner 
TEMA,  (ft.)  a  subject  or  theme. 
TEMPESTOSO,  (ft.)  in  a  tempestuous  manner 
TEMPO    COMODO,  (ft.)  in  a  convenient  degree  ». 

movement. 
TENDREMENT,  (Fr.)  affectionately,  Umderly. 
TENERAMENTE,  TENERO,  or  CON  TENERE7- 

ZA,  (ft.)  tenderly. 
TENUTO,  or  TEN.,  (ft.)  implies  that  a  note  or  notrt 

must  be  sustained  or  kept  down  the  full  time 
THEME,  (Fr,)  a  subject 
TIMOROSO,  (It)  with  timidity  and  awe. 
'PRANaUILLO,  TRANaUILLAMENTE,  or  ■  <>> 

TRANaUILLEZZA,  (ft.)  tranquilly,  composed) 
TREMENDO,  (ft.)  with  a  tremendous  aipwtaln 

horribly. 
TREMANDO?  TREMOLATE,  TREMOLO,  (ft  )  ira 

plies  the  reiteration  of  a  note  or  chord  with  «v» 

rapidity,  so  as  to  produce  a  tremulous  kind  .nf  u. 

tion. 
TRILLANDO,  (ft.)  a  succession  of  shakes  on  difle. 

ent  notes 
TIULLE,  (Ft  ,)  TRILLO,  (ft.)  a  shako 
TRIO,  (ft.)  a  piece  for  three  voices  or  instrument* 

This  term  also  denotes  a  second  movement  to  » 

waltz,  march,  minuet,  &c,  which  always  leads  hack 

to  a  repetition  of  the  first  or  principal  movement 
TRIPLET,  a  group  of  three  notes,  arising  from  th« 

division  otv;i  note  into  three  equa.  parts  of  the  neii 

inferior  duration. 
TUTTA  FORZA,  (IL)  with  the  utmost  vehemence, 

as  loud  as  possible. 
TUTTI,  (ft.  plural,  all ;)  a  terrr  used  to  point  out 

those  passages  where  all  the  voices  or  instruntnta 

or  both,  are  to  be  introduced. 
UN,  (ft.)  a  ;  as,  wn  poco,  a  little. 
VALCE,  (ft.,)  VALSE,  (Fr.)  a  walte. 
VELOCE,  or  CON  VELOCITA,  (ft.)  in  rapid  time 
VELOCISSIMO,  (It  >  with  extreme  rapidity. 
VIBRANTE,  (IL)  a  peculiar  manner  of  touching  th« 

keys  of  the  piano. 
VIGOROSO,  VIGOROPAMENTE,  (fL)  boldly,  Tif 

orously. 
VISTAMENTE,  (ft.,)  VITE,  (Fr.)  wUl.  quickneaa. 
VIVACE,  VIVAMENTE,  or  CON  V1VACITA,  (iit3 

with  briskness  and  animation. 
VIVACISSLMO,(ft.)  with  extreme  vivacity. 
VIVACITA,  (ft.)  vivacity. 
VIVO,  CON  VIVEZZA,  (ft.)  animated,  lively 
VOCE,  (ft.)  the  voice. 

VOLANTE,  (IL)  in  a  light  and  rapid  nnnn«r. 
VOLTA,  (ft.)  time  of  playing  a  mo*  ascot;  r" 

volta,  the  first  time  of  playing,  &x. 
VOLTI  SUBITO,  or  V.  S.,  (ft )  turn  cvjr  quiett* 
WALZER,  (Qer.)  9  'valU- 


i?SIV*RSITT 


?> 


o  -e-  -a  :§• 


o 


UN1YKR  'ITY   OF  CALIFORNIA  LIBRARY 


THIS  BOOK  IS  DUE  ON  THE  LAST  DATE 
STAMPED  BELOW 


JAN  20  191» 

<24   'sib 
SEP  111918 

SEP  IS  1919 
FEB  161920 

SEP  8 


aOro-1,'15 


y 


6ra± 


YF  00476 


U.C.  BERKELEY  UBRARIL: 


C072777537 


UNIVERSITY  OF  CALIFORNIA  LIBRARY 


VALUABLE  MUSIS  BOOKS 

TXZB      ■-»■  i  lUT.TwicrTnTi      OX       TIBCIS     V5TORJBL. 


Piano  methods. 

I3&1H9VH  NnBTHOD.    Complete,  S  50 ;  Abridged, 1  to 

■  Til.  l  8  METHOD.    K.Tteed  by  Jouji  Kicu, 3  00 

BO.  In  3  Puis,  each 9  I: 

RTE  METHOD, 

KVN.  Ctomptete,  2  i. '  ■  Abridge*",... 

Htnsi  zvr  mkhoi,  •    

1AKEH 7   U.    MODERN  INSTRUCTOR I  SO 

RAMILTO  TS  MODEHN  INSTRUCTIONS, 1  00 

'"1«Q  3  CELEBRATED  INSTRUCTIONS,    .......  a  00 

.■*ULLKr.*S  INSTRUCTOR. »  00 

S'S  P IA.NO  INSTRUCTION  BOOK.    By  C. 

tNwrn loo 

IO*T0H  INSTRUCT0B.    Complete,  3  00 ;  Ahidfed, 130 

tOGtEE  8  FIBST  COMPANION  and  SEQUEL,   bcb,  a  00 

torrawi  INSTRUCTIONS, a  00 

rH  AMUSEMENT.   By  rnniuiS;...,  a  so 

..'S  HAND-BOOK, _..*.t:. 60 

0  WITiiOBT  A  MASTEB '. 50 

HU         ID'S  FIRST  BOOK  OF  MUSIC, SO 

HITEHILE  INSTRUCTIONS, so 

FIBST  STEPS  OF  YOUTH.    By  Dimui, 38 

KOWE'S  ri'^O-FOBTE  INSTRUCTOR, 38 

WOO  LF-INSTRUCTOH, 38 

OHAOxNER'S  AST  OF  PLAYING, 1  SO 

ADAM'S  ELEMENTARY  LESSONS, » 

DIABEIXrS  ELEMEKTABT  LESSONS, 38 

SBAMEB'B   INSTRUCTIVE  LESSONS, 50 


Fiai 


•rimers   and  Catechisms. 


*UB~.  '  PlaNO  PB1MEE.    New  Edition S3 

OLIVER      PRACTICAL  TEXT-BOOK 50 

FORCES'  CLASS   BOOK  Ai.D  PBIMEE, BS 

TOUSSE'S  CATECHISM  OF  MUSIC, S3 

KWORH'S  METHOMCAL  GUTBE, -  50 

Pinta«»    ;-*<«.«ltcs   and   Exercise. 

I  JCHOOL, 3  50 

;an  voluntaries, 1  so 

SUCTIONS.    Ei»«,C*ixott,Wa»mh    150 

N  VOLUNTARIES, 3  00 

rn^i  ORGAN,    in  Nob.    Each, 50 

"MRLES.    ByHu.;.    In  No*.    Each,,...      50 

;tu»i  r&  ORGANIST, 1  50 

VOLUNTARIES, 150 

SO.                  ii-LoDES  AND  INTERLUDES,...     50 
N0» ■£ XX    3  '    .ORT  MELODIES.    In  No*.    Each, 38 

Organ  music. 

jnEBTTJfTS  STUDIES  (Op.  84)  Rudiment!  du  Pianist*,..  3  00 

IX>.  85  t>^"DIES 100 

00.  tHOBQDUCTORY  TO  CRAMER,  1  50 

DO.  f"0ALI;$  AKD  ZXEBC1SE8, SO 

*ACH*i  FUrTRlUT  IirVENTIONS, 75 

CRAMEB'3  CELEBRATED  STUDIES.    New  Edition,..  3  00 
CZKBNY'6  101  PBEPABAT0BY  LESSONS.    3No».,ea.,    75 

t^EBNTS  irNGEE  EXERCISES.    3Nos.    Each 1  00 

DO.        GBAND  EXERCISES  OF  THE  SCALE,..     75 

*0.         KTDDES  DE  LA  VELOCITE.    Bound l  so 

DO.  LO.  DO.  3Noa,ea.r     75 

jiO.  X0O  E*.8Y  LESSONS     Four  No*.    Each,...      30 

uO.        TWENTY-FIVE  EASY  PBELUDES SO 

$W         MX  STUDIES  FOB  LEFT  HAND, 81 

DO.  CLASSICAL  SCHOOL.    Three  No*.    Each,..  181 

-a)  VEBNOTS  KCOLE  DU  KECANISME.   3  No*.  £*.,     So 

DO  FIBST  LESSONS.    Four  No*.    Each,.-       S3 

AStXB  KXEBCIBES  AND  SCALES, 75 

DO.       18  SPECIAL  STUDIES.    3  Km.    Each, 75 

EB'9  30  DRAMATIC  STUDIES.    2««    a« 

.TUBES  FOB  TWO   HANDS 2no 

.138  AND  EXEBJliES.    3Noi.    Ka.,     38 
lY  JUVENILE  STUDIES.    I»3No».,  1  00 

FLAtDTS  TECHNICAL  STUDIES, 9  00 

ilANIS'i;*  BEST  COMPANION, SO 

94  PRELUDES.    By  Sitrau  Hiixi*.    lu  9  No*.    Each,  1  00 

TIGBFRIK'S  PBELUDES, 75 

FOYILy  DAILY  EXEBCI8E, 93 

KnarDTS  FIVE-FIN6EB  EXERCISES, SO 

MELODIOUB  STUDIES.    By  Finuiiu, 1  00 

">  :W  MUSICAL  ALPHABET, at 

-•OARTAH  EXERCISES, 89 

i*«     .•  ^.NIC  EXEKCTSES     By  P.  H.  Blow** 


Methods   for   ih«*    Voice. 

LABLACHE'8  METHOD.    Complete,  a  50  j  Abridged, 
DO.  DO.        FOB  BASS  VOICE,.... 

CAJVELLTS  IBSTEUCTIONS  IN  SINGING,-..  • 
FKBBABTS  IN8TBUCTI0NS  FOB  VOICE, 
EXEBCIBES  AND   SOLFEGGIOS.    By  h.  Mum,.., 
FA'JSBBON'S  METHOD  OF  VOCALIZATION,--- 


I  50 


DO. 
JO. 
DO. 
DO. 
DO. 


DO. 


l  m 
a  oo 

Abridged,  1  00 

3  SO 

1  00 
300 


37 
3  » 
400 
.    78 

300 
2  00 

:  25 


DO. 

ABC  OF  MUSIC, 

BO.  Smaller,  for  Clauses,. 

METHOD  OF  SINGING  IN  PARTS, 
GAMUT  and  SOLFEGGI.   9  Voice*,  63: 

3  Voter*,  1  00;  4  Vol«e«,. 

COOKE'S  SINGING  INSTBUCTOB, , 

BODOLPHE'S  SOLFEC:T, 

VOCALISTS  COMPANION     By  E.B  Ourn, 

CBESCENTTNI'S  ART  0>    j-iCGING, 

BOBDOGNI'S  THIBTY-BLU.  VOCALIZES, 

DO.  TWELVE  NEW  VOCALIZES,  - 

Sopran.      In  3  Nos.    Each, 

NOUBBirS  48  PBELiMXNARY  FXEBCLIEC.-.- 
CONCONE'S  50  LESSONS.    In  2  t ..        Each,. 

10.  EXFT-  ?.  THE  VC> 

DO.  15    ,jflALIi.2u    B  No*.    Each 

8EMINAKY  CLASS  BOOK  OF  MUSIC, 

BIMfiAULrs  HAND  BOOK  OF  SINGING, 
BOSSI'n'S  EXEKCTSES  FOB  THE  VOICE 

Guitar  and  Harp  Instructors. 

CUBTISS'3  METHOD  FOE  THE  GUIIAE, . 

TORP'8  IYSTBUCTION  BOOK  DO 

CARCA_.vT'S  GUITAB.    Complete,  2  50 ;  Abridged,   1  SO 

CAR  SLLVS  GUITAR.    Complete,  3  50 ;  Abridged 2  00 

GUITAR  WITHOUT  A  MASTEB, 50 

HOWE'S  INSTRUCTOR, 38 

BOCHSA'S  INSTRUCTOR  FOR  THE  EABP, 9  50 

Melodeon  and  Seraphine. 

ZUNDELL'S  MELODEON  INSTRUCTOR 3  00 

OARHAiiT'S  DO.  B. ?  OO 

AMERICAN  SCHOOL  FOB  THE  I  ELODEON, 

THE  MELODEON  WITHOUT  A  MASTEB, 

GREEN  So   WHITES  INSTRUCTIONS,  ....'- 

HOWE'S  MELODS'IN  £   ;D  CBRAPHINE 

W00DBURY3  SELF  ITI8TBU--T0B, 

Muaic, 


Violin 

SPOHR'S  SCEf 
MA?i8'8  IN81 
MODEBN  SCHC 
SAUNDERS'  81 
THE  VIOLIN  C 
VIOLTN  WITH 
HOWE'S  BCHO, 
WOODBURY'S 
VIOLIN  MABE 
ETHIOPIAN  VI 
SELF-INSTRUCT 
OLE  BULL  VIO- 


miction  l^ooii.i 


Comp:-re,C  OO;  Abridged,..., 
.'CTiONS 

L.    J>J  rnirJoi», 

F-LNSTBUCTING  SCHOOL,- 

MPLETE, 

IT  A  MASTEB, , 

FOB  THE  \'OI,IH, 

OLIN  LNBTBUCTOB 

ASY. 

.IN  INSTBUCTOB, 

E  FOR  THE  VIOLIN 

■J  INSTRUCTOR, 

"lute   Ifooks. 


i  00 

so 

38 
.18 
33 
38 

38 


WRAGG'S  FLUT 
BERBIGUIER'S 
BRESSLER'S  COI 
BOSTON  FLUTE 
HOWE'S  SCHOOL 
ETHIOPIAN  FLU1 


INSTRUC     3, 

istruc:ions, S  so 

'LETE  LNSTRUCTI0H8, a  50 

7STRUCT0R, 38 

'OR  THE  FLUTE, 38 

INSTRUCTOR, 38 


WOODBURYS  FLITE  INSTBUCTOB, » -  SB 

FLUTE  WITHOUT  A  MASTEB, 38 

FLUTE  MABE  EASY, -  ...  38 

SELF-INSTBUCTOB  FOB  THE  FLUTE, -.  38 

JULLLEN  COLLEC'N  OF  FLUTE  &.  VIOLIN  MU"  "•« 
PORTFOLIO  FOB  FLUTE  OB  VIOLIN.   ^  »* 


Accordeon  Books. 

NEW  AND  COMPLETE  METHOD, 

CUNJAP^^L'S  PBECEPTOB, 

^CCORl/.or  WITHOUT  A  MASTEB, 

BTE.  uPLAi    ACCORDEOil  INSTBUCTOB,     - 

TBtK  SELF-I^<.rjiUCTOB, 

HOWil'S  COMPLETE  PBECiSPTOB, 

'  DO.             DO.                  DO.          8»**B,.... 
PRECirTOB  FOB  GERMAN  ACCOEDSOl, 
THE  FLDTINA-  A  Client/'  of  Hnate, 


* 
4 

BJ 
M 
38 
88 

at 


Clarionet,  File,  Flageolet,  <&«. 

HOWE'S  SCHOOL  FOB  CLABIONET, * 

KENDALL'S  CLARIONET  INSTBUCTOB, >...    t* 

KOWE'S  PCHOOL  FOE  THE  FIFE,.. 

DO.  DO-  FLAGEOLET, 

DO.       BANJO  PRECEPTOR, * 'V 

8EDGWICK'S  CONCERTINA  INSTRUCTOR, » 

ROMBERG'S  VIOLONCELLO.  -  •  a  88 

THE  VIOLONCELLO.    Abridged  from  Eiinno, 1  08 

HAMILTON'S  PEETEPTOB  FOB  VIOLONCELLO,..  SC 
BILEY'8  DO.  DO.  ...alt 
KYLE'S  INSTBUCnpNB  FOB  BASSOON, BO 

Harmony,  thorough  Bass,  &c. 

WBBEB'3  MUSICAl,  COMPOSITION.   2  Vol.., 408 

PESTALOSlTAN  SYSTEM  OF  HM'NY.   A.N  Jokotok,  1  M 

W00DBUBV1  MUSICAL  COMPOSITT05, » 

CZERNYS  1.  TROUGH  BASS,  ..-•, ■-.     SO 

CORFE'S  HARjilONY  AND  THOROUGH  BASS,.--       58 

FIRST  STEPS  IN  THOROUGH  BASS, 88 

BURRO  WES'  S  THOROUGH  BASS  PBIMEE, 38 

SCHNEIBEB'S  I.IEOBY  OF  B  ARMONY * 

BAKER'S  THEORY  OF  HARMONY, at 

RIMBAULT'S  HAND-BOOK  "F  HARMONY,-. **»»aB  . 

HA?«aTON'S  MUSICAL  11     xONARY, S»  ' 

FIVE  THOUSAND  MUSIC.  L  TERMS, 88 

WARNER'S  DICTIONARY  W  MUSICAL  TXBMB,.  88 
THE  TUNER'S  GUIDE 88 

Instrumental. 

LOGIEB'S  INSTRUCTIONS  FOB  BUGLE, 1  88 

DISTIN'S  TUTOR  FOB  BAX  HORN 88 

BURBITT'S  PREOtx'iORB  TOR  BUGLE,  SAX  HOBS, 

POST  HORN,  CORNOPECX    Each, M 

BOSTON  COLLECTION  INSTRUMENTAL  MUSIC,  ••     »' 

MUSICIAN'S  COMPANION.    3  Vol*.,«ach, *! 

INSTRUMENTAL  MUSICIAN.    6  No*.,  each, M 

14  PIECES  MU8IC  FOR  SMALL  BRASS  BAND,-..  8  80 
SELECT  BRASS  BAND  MUSIC.    50  Piece*, :  rraaged  lot 

BMdofl2orl4Ine'Bt«,byR  A.Bo*DiTT,ouU*rd!  PerB«t,  I  08 
THE  GERMANIA;  A  OoU.  f    «aiul  Ban  » .«  «  «  8 Inat*,  1  08 

Secuinv  niitsic. 

MOORE'S  IRISH  MELODIC.   P'*i 
OPERAS  0?  NORMA,  LUCIA  LI  7,AMM>- 

i    uOtmAMBULA,    ,^ID 

.Word*.    Each, S  J» 

UF  BON  GI'TVANNL  159 

A  .  HORUS  BOOK.    E.  CkiWiiiT*  <fc  J.  E.  Gocu>,..  9  04 

t'G  FOLK'S  GLEE  BOOK, 100 

COKTINENTAL  GLEE  BOOK, 61 

TYROLIEN  LYRE.    A  Glee  Book.    Wkit*  fc  Gonz.s,....  1  00 

JENNY  LIND  GLEE  BOOK.    By  Datid  P»i*»,... 1  00 

WREATH  OF  SCHOOL  30KG8.    By  Wniri  tc  Oom*,.     If 

MAY  FESTIVAL.    Dy  J.  O.  Jo*™* 19 

BAKER'S  StB  *0L  SONG  BOOK, 83 

SONGS  FOR  THE  PEOPLE.    Hlustratwl 1  00 

BOSTON  MELODEOJ*  *    Each 100 

THE  NATIONAL  GLEE   ;i  OK, 75 

CLASSIC  GLEE  BOOK, SO 

BEAU^.TES  OF  CALEDONIA.    ■*  '"*  Hong*.  1  <W 

THE  iJHAK';.    Arranged  for  Piano  and  Guitar,  1  00 

THE  If  FARP.  do.  do.  T  « 

THE  Or.PHEAN  LYRE.    In  2  Vol*.,  ea.  1  50 ;  in  1  Vol.,.  3  00 

THE  GEMS  OF  SONG, St 

AMATEUR  SOL'G  BOOii .' 50 

PARLOR  COMPANION.    A  Collectloa  for  the  Piaaor 1« 

BOSTON  TEMPERANCE  GLEE  BOOK, * 

THE  TEMPERANCE  MELODEON, 38 

ETHIOPIAN  GLEE  BOOK.  3  No*.,  ea.  SB ;  3  In  1  VoL,..  1  88 
ETIttUETTE  OF  THE  BALL  ROOM, 

Sacred  Mustc. 

ORATORIO  OF  CREATION, 1  » 

HOSES  IN  EGYPT.    A»  «ung  by  the  Handel  A.  llaydaSoe'y,  1  6 
SACRED  CHORUS  BOOK.    E.  L  Whit*  4:  J.  E.  GomLD.  9  Ot 


•o 

BEETHOVEN'S  MASS  IN  C,  do 

HAYDN'S  THIRD  JiASS,  IN  D,        <1».  do. 

HAYTEB'S  SELECTION  OF  CHANTS, I 

BIRD'S  ONE  HUNDRED  CHANTS 

ZEUHER'S  AMERICAN  HARP, *• 

HABMCNIA  SACRA.    Short  Chant*,  Choro***.  ** X 

CHUB  :H  MELODIST.    A  CoHeetlon  of  P^^ei  Tim**,.....      7j 
ANTIQUARIAN.    A  Coll'ia  of  oid-faahkmed  Church  Mute,     !• 

THE  MODERN  HARP.    Whit*  *  Soou 7. 

THE  POLYHYMNIA.   C.  P.  B*r*»**, , 

SABBATH  blHOOL  LUTE.    Whim  fc  Cteoi.*, 


this  work  can  be  forward*!  hj  Kail*    Catalo^nes  of  Shett  Music  forwarded  on  applisation  to  the  PoWisbfT* 


